Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
Franz Welser-Möst leads a rigorous, if emotionally staid, performance of Verdi‘s Requiem at Carnegie Hall.
Esa-Pekka Salonen and The Los Angeles Philharmonic serve a feast for all five senses.
James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
A starry cast is hampered by Christof Loy‘s dour production of Rusalka in Barcelona
A new recording by the London Symphony Orchestra is the latest landmark in a spring full of Janácek‘s Jenufa
Cameron Kelsall reports on a transcendent Jenufa from the Cleveland Orchestra
Later this month the Met at last revives its striking Herbert Wernicke production of Die Frau ohne Schatten, prompting a Chris’s Cache preview of three live recordings of Strauss and Hofmannsthal’s fanciful if knotty masterpiece.
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
Richard Strauss’ “Bucolic Tragedy in One Act” Daphne is one of his most beautiful and most frustrating works.
What happens when you attend a performance and it doesn’t engage you?
Following classic recordings documenting the work of Karl Böhm and Herbert von Karajan. Orfeo’s 150 Years Wiener Staatsoper box moves on to new releases that are seeing their first incarnation on an officially available disc.
“Trove Thursday” turns to a quintet of baritone/bass voices: Matthias Goerne, Simon Keenlyside, Georg Nigl, Thomas Quasthoff and René Pape performing works by Pfitzner, Sibelius, Adams, Martin and Schubert.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
“The heavens are telling” begins the famous chorus that ends the first section of The Creation.
The old adage “the third time’s the charm” proved to be the case with me and Daphne, Richard Strauss’s ravishing bukolische Tragödie, when I recently heard it performed by Franz Welser-Möst and the Cleveland Orchestra.
It was already nearly two o’clock in the morning, late for a work night, and Nixon Ben Mahmoud was ashamed to find himself crying real tears.
One of the greats of classical music, Franz Joseph Haydn was a bit of an “also-ran” as an opera composer.
Awaiting the return of Parsifal to the Met, “Trove Thursday” hops to the other end of Wagner’s oeuvre with a recent Rienzi der letzte der Tribunen.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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