Maximalism was on the menu last weekend at the Philadelphia Orchestra.
The Metropolitan Opera chose the early August operatic doldrums in NYC to announce the renewal of Yannick Nézet-Séguin’s contract as music director through the 2029-30 season.
During the 1970s, Stephen Sondheim composed Company, Follies, A Little Night Music, Pacific Overtures and Sweeney Todd–five richly varied masterpieces of musical theater in a nearly miraculous burst of creativity.
I’m old enough to remember when Yannick Nézet-Séguin could do no wrong.
On June 11th, the Met Orchestra returned to Carnegie Hall with a diverse program led by music director Yannick Nézet-Séguin.
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
To bring a well-known story to the stage, many methods are available.
Swiss soprano Regula Mühlemann made her New York recital debut at Weill Hall on May 8.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
Life was a Cabaret, you chumps!
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
Chris’s Cache celebrates Ewa Podles‘s long connection with Handel by featuring her in three complete, decidedly un-HIP operas spanning over twenty years
Real estate is hot along the Acela corridor right now: as proof, Judith will have toured at least three castles in New York and Boston between this spring and last.
How many hours of our lives are spent looking back?
On this day in 1968 mezzo-soprano Fiorenza Cossotto made her Metropolitan Opera debut as Amneris.
Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
It says something about Boston’s opera scene that one of the most consistently ambitious events of the opera season is a one-off performance played by the Boston Youth Symphony Orchestras.
There is a strong case to be made that George Fridrich Handel is the composer most suited to the present moment.
When the Staatskapelle Berlin announced a two-night engagement at Carnegie Hall performing all four Brahms symphonies, I immediately made a note in my calendar to attend. I also wondered who would be the conductor when the announced Daniel Barenboim inevitably withdrew.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
I can still vividly remember the first time the music of George Frideric Handel made an impression on me.
This Sunday marked a muted return of the Richard Tucker Foundation Gala, which had the dubious distinction of the fourth edition not to feature a prizewinner and perhaps the first not to provide complete orchestral and choral accompaniment for its performers.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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