Grand Tier Grab Bag hearkens back to the days when Sondra Radvanovsky — who is singing no Verdi at all next season — seemed like the Verdi soprano of reference.
The purely musical performance preserved here is thrilling, ratcheted to a higher intensity than the Deutsche Grammophon studio recording
To celebrate the 100th anniversary performances of Turandot at the Met starting next week, Patrick Dillon gives a listen to seven versions of “Signore, ascolta!” for Perspectives on an Aria.
The countertenors conquer the day in Handel‘s Giulio Cesare in Egitto at the Deutsche Oper Berlin.
Like probably all of us, there are so many different things I could have submitted for a favorite Verdi performance.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
Led by a mesmerizing Anthony Roth Costanzo, Satyagraha at the Paris Opera dispenses with historical particularities for something for more elusive.
This prompt of “favorite art song performance” seems just about as broad — and almost silly — a question as asking a painter what their favorite color is.
Before her one-woman La voix humaine with the New York Philharmonic, Barbara Hannigan talks to Kevin Ng about her career, her artistry, and whether or not there’s a voice on the other line.
Ten years since the death of countertenor Brian Asawa, Charles Stanton remembers his friend and corrects the record on his untimely passing.
Golda Schultz soldiers through illness at the New York Philharmonic.
The Chicago Symphony Orchestra explores love and death in an intense, intelligent program featuring soprano Corinne Winters.
Golda Schultz casts darkness in an alluring light in an intimate recital at the New Orleans Opera Festival.
Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
Kent Nagano gives a boost to the Opéra national de Paris‘s revival of Nixon in China.
Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
I don’t know if I’ll ever hear as great a performance as René Pape‘s Gurnemanz.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
Parterre Box answers the question, “how can a singer do both Tristan and Nemorino within a few month of each other?” with a clip of a recent role debut from Michael Spyres.
John Danaher on the world-premiere recording of Clémence de Grandval‘s wild and worthy Mazeppa, the latest release from the operatic archaeologists at Palazzetto Bru Zane.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Parterre Box features a performance from two belcantisti who would rather you not think about their political affiliations.
A captivating Asmik Grigorian leads the Bayerishce Staatsoper‘s revival of its Holocaust-set Salome.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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