Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
Teatro Nuovo put on a perfectly delightful show on Thursday night.
The singers and the orchestra carry the show, but where do they carry it?
Brigitte Fassbaender‘s sound is piquant and, I’d hazard to guess, instantly recognizable to anyone familiar with her work.
“Who knows what evil lurks in the hearts of men?” went the introduction to the 1940s radio program The Shadow, an apt description for the San Francisco Opera’s production of Rusalka.
While Luciano Pavarotti may have brought opera to the people, once he realized how lucrative it could be, there was a string of promoters who helped him turn all that adoration into cold hard cash.
In the triumphant American premiere of Orlando Generoso at the Boston Early Music Festival last week, the hippogriff was among the many stars of the show.
Elina Garanca was radiantly present at Carnegie Hall Friday night performing a ravishingly somber Rückert-Lieder with Yannick Nézet-Séguin and the MET Orchestra.
Michael Fabiano is a boss. This is a fact.
An unusually provocative program by the Orchestra of St. Luke’s conducted by Bernard Labadie with soloists Lydia Teuscher and Benno Schachtner made my “return” Thursday evening an illuminating and rewarding experience at Zankel Hall.
“Tame” seemed to be the appropriate adjective to describe San Francisco Opera’s Carmen.
David Lang’s Prisoner of the State, which was premiered on Thursday night by the New York Philharmonic, places the issue of mass incarceration front and center, foregrounding the violence of the prison system, both physical and psychological.
Tosca, as it exists now, can’t be real, spontaneous drama-it’s just Camp.
Amore Opera, an old-fashioned, adventurous little company that performs ambitious and sometimes delectably obscure but worthy repertory at the Riverside Theatre, is now (through Sunday) presenting Un ballo in maschera.
Verdi’s Giovanna d’Arco in a rare NYC concert performance with Margaret Price, Carlo Bergonzi and Sherrill Milnes.
For more than 40 years, the magnificent opening image from Francis Poulenc’s Dialogues des Carmélites has served as an icon for the Met.
Today the good guy finally gets his chance with San Giovanni Battista by Alessandro Stradella featuring Christophe Dumaux as John the Baptist.
New Amsterdam Opera specializes in American singers whose abilities are as yet little known.
Cycle II represented an embarrassment of musical riches.
Two atmospheric but bleak works provide a musical illustration of the notion that misery loves company.
It was quite a pleasure—a privilege, really—to see John Dexter’s legendary production of Poulenc’s Dialogues des Carmélites.
“Trove Thursday” presents two live versions of Sunday in the Park with George.
We are the elusive, the mysterious, the ever-courted Millennial Audience, Mr. Darcy to the marketing department’s Mrs. Bennet.
At the Metropolitan Opera’s Götterdämmerung on Saturday afternoon, the fires which consumed the Gods burned lukewarm.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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