“Trove Thursday” features its two favorite baritones in a pair of comforting settings of the Requiem.
Beauteous Trinidadian soprano Jeanine De Bique appeared Sunday afternoon with the visiting Budapest Festival Orchestra under Ivan Fischer.
“Trove Thursday” presents a complete Prodanà Nevesta (aka Die Verkaufte Braut, of course) by Smetana plus extended excerpts from a broadcast of Spontini’s La Vestale in its rarely heard original French version.
A hefty thunderclap shook Tanglewood’s Koussevitzky Shed just as Andris Nelsons raised his baton for the third act of the weekend’s concert Die Walküre.
The aphorisms projected before each act of Das Wunder der Heliane suggested the work concerns the transformative power of love—but does it really?
In this recital, the Polish bass-baritone Tomasz Konieczny and his pianist Lech Napierala present the world premiere recording of Stanislaw Baranczak‘s Podróz Zimowa (Winter’s Journey), which weds the poet’s meticulously crafted poetry to the music of Franz Schubert.
Trove Thursday offers Bellini’s La Sonnambula with Anna Moffo (San Francisco 1960) and Anna Netrebko (Vienna 2006).
Tannhäuser pales beside the other great Wagnerian operas in the degree to which it has innovated the Regisseur’s vocabulary for set design and dramaturgy.
Can a work with indisputably great music fail to add up to a successful opera? I puzzled over that Sunday during Teatro Nuovo’s essential concert staging of Rossini’s La Gazza Ladra at SUNY Purchase.
Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
“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.
Everett Quinton’s Galas is a star at the end of her tether, and she goes nova with the best.
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.
Michael Fabiano is a boss. This is a fact.
“How far should we give way to grief? How far dare we, without disaster?”
Once again we got a very frustrating performance of Orlando; this time a beautiful and completely coherent production marred by some sub-optimal singing.
Although stripped down, this comedy of manners was far from boring due to well-choreographed movements and actions of the characters.
The Wiener Staatsoper commemorated its 150th anniversary with a musically sensational presentation of Richard Strauss’ Die Frau Ohne Schatten.
The opera proved somewhat puzzling—the score representing more a collage of fragmented and incidental musical ideas, and the libretto a turgid, slow-moving mass of purple prose.
To mark Beverly Sills’s 90th birthday (May 25, 1929) “Trove Thursday” offers the late diva’s acclaimed Massenet heroine opposite her ideal Des Grieux, Alain Vanzo.
Today the good guy finally gets his chance with San Giovanni Battista by Alessandro Stradella featuring Christophe Dumaux as John the Baptist.
Cycle II represented an embarrassment of musical riches.
Mozart appears to find promiscuity a source of humor rather than something that is a fundamental problem.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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