Mozart appears to find promiscuity a source of humor rather than something that is a fundamental problem.
Claus Guth, in a staging of Handel’s Orlando for Theater an der Wien, decided to revisit a PTSD theme.
“Trove Thursday” turns to Jacopo Foroni’s rare 1849 historical melodrama Cristina, Regina di Svezia to commemorate the 330th anniversary tomorrow of that enigmatic monarch’s death.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
Peter Mattei, one of my two favorite baritones these days, in an unexpected title role, Britten’s Billy Budd.
Zelmira, a work of 1822, was the last of the eight operas Rossini composed for the Teatro San Carlo in Naples, then the largest opera house in Italy—perhaps in Europe.
“Trove Thursday” offers Die Frau ohne Schatten conducted by Georg Solti and also featuring Regina Resnik, Donald McIntyre and the inevitable James King.
“Trove Thursday” offers Mozart’s late opera seria in a Paris “pirate” featuring the high-voltage diva-duo of Anna Caterina Antonacci and Elina Garanca.
Teatro Real continued their 200 years’ celebration by premiering a piece that they have never done before, Francesco Cavalli’s opera La Calisto.
Wagner’s Ring is an artistic masterpiece that is peerless in its ability to continually reveal layers of musical, theatrical, and philosophical insight
“Trove Thursday” drafts a 1960s All-Star team for Verdi’s Il Trovatore broadcast from the Teatro Colón.
“Trove Thursday” leaps to the end of the cycle with a slightly abridged Götterdämmerung featuring Amy Shuard as Brünnhilde.
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
The most disappointing performance in 30 otherwise glorious years of William Christie and Les Arts Florissants visiting New York City.
Although Gustav Mahler never wrote an opera, his colossal Eighth Symphony “The Symphony of a Thousand” may give us some glimpses of what a Mahler opera might have sounded like
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
We humans tend to dislike uncertainty, therefore there is something comforting going to opera revivals; you know exactly what you are going to get.
Porgy and Bess, George Gershwin, Ira Gershwin and DuBose Heyward’s 1935 “folk” opera, graced the stage of Dutch National Opera for the first time last month, and it was resounding success from start to finish.
A double-barreled “Trove Thursday” birthday salute to Renée Fleming who turns 60 today.
The “Red Priest” of Venice once made reference to his “94 operas” in a letter to his patron.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
Considering the size and the logistics for staging Les Troyens, every new production of Berlioz’s epic masterpiece is a special event.
The Paris Opera continued their 350th anniversary celebration January 26 with a brand new production of Alessandro Scarlatti’s 1707 oratorio Il Primo Omicidio ovvero Caino.
Helga Dernesch is the singer whom I largely credit for rekindling my love for opera.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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