J.S. Bach doesn’t get a lot of attention on this site although he wrote tons of vocal music.
Usually the longer I know a work the more I look forward to rediscovering it, but that’s just not the case with the Verdi Requiem.
Verdi’s Macbeth gets true blood-and-guts treatment from Guillermo Sarabia and the legendary Marisa Galvany.
“Trove Thursday” offers a Der Fliegende Holländer from New York City Opera featuring the underrated American soprano Johanna Meier.
This Sunday marks the 10th anniversary of the death of Lorraine Hunt Lieberson from breast cancer.
Anna Moffo made some of the most entrancing records ever. Their appeal is to “voice fanciers.” (I understand. We’re a despised group.) But Moffo’s best work renders us helpless.
One Saturday afternoon during my freshman year in college, Richard Strauss’s Elektra made me fall in love with Ursula Schröder-Feinen—or maybe vice versa.
Richard Strauss’s many one-act operas make excellent concert programs, both for their length (usually under two hours) and the primary place each gives the orchestration, a specialty where Strauss’s brilliance seldom deserted him.
Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall.
The last day of December a parcel arrived in the mail containing an absolute delight: “Semiramide—La Signora Regale.” One of best vocal recordings of 2014, this sumptuous 2-CD set on Deutsche Harmonia Mundi features the marvelous Italian mezzo-soprano Anna Bonitatibus and includes 90 minutes of rarely-heard music written for the legendary Babylonian queen.
Something a little out of the ordinary from Jungfer Marianne Leitmetzerin this week: David Del Tredici‘s Final Alice, featuring the “original cast.”
“With radiant looks, we shall depart this world,” sing Konstanze and Belmonte near the end of Mozart’s exotic yet charming opera Singspiel Die Entführung aus dem Serail.
Notable purveyor of mayhem and infanticide Medea has lately been missing from the local operatic scene, but Sunday afternoon sections of the recently renovated Alice Tully Hall were singed by Canadian soprano Dominique Labelle’s blazing incarnation of the Greek sorceress.
The Cleveland Orchestra’s premiere performance of Janacek’s Cunning Little Vixen proved to be both a critical and audience success.
American mezzo Jamie Barton, who has steadily been winning fans in the US over the past few years for her rich and nuanced singing, took the international opera world by storm last weekend by winning both the Song Prize as well as the overall prize in the BBC Cardiff Singer of the World competition.
The chicken or the egg?
Sneaking in under the wire during the final week of May were two highpoints of New York’s opera season: the Cleveland Orchestra’s Salome with a stunning Nina Stemme and operamission’s revelatory US stage premiere of a complete edition of Handel’s first opera Almira.
Noticing how often she turns up lately, one might guess that the operatic “heroine” for the global economic crunch is Medea, the mythological Greek sorceress and filicide.
Despite baby-steps over the years, America’s musical scene, especially opera, remains decidedly un-HIP. (HIP: “historically-informed performance,” also called “period performance.”) While European opera houses turn increasingly to “original instrument” orchestras and specialist singers for seventeenth and eighteenth century works, this rarely occurs in the US.
Just imagine! The legend herself, Anja Silja taking time out of a busy rehearsal schedule (and despite her concern about the orchestra, problematic in early runthroughs)—to talk to parterre box. I confess I imagined she would be at least a little bit like her character of Emilia Marty—cynical, burned out, impatient. What a surprise, then,…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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