A change is gonna come
In the opera world, one of the pieces that underwent a multitude of changes in its reception was undoubtedly Richard Wagner’s longest and most Germanic opera, Die Meistersinger von Nürnberg.
In the opera world, one of the pieces that underwent a multitude of changes in its reception was undoubtedly Richard Wagner’s longest and most Germanic opera, Die Meistersinger von Nürnberg.
Today’s Trove Thursday was originally scheduled for February 27, which would have been Mirella Freni’s 85th birthday, but instead we remember today the beloved soprano who passed away this past weekend in Puccini.
We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
Christine Goerke‘s distracted, tentative Isolde turned out to be the least potent feature of what was an otherwise exciting and effective second act of Tristan.
Rossini’s Semiramide is a highly original and imaginative work of theater that impresses for its creative and beautifully scored orchestration, incisive recitatives and ensembles, and theatrically intriguing characters.
I’m certain I wasn’t the only one thrilled to bits to see LA Opera’s production of La Bohème finally retired after 26 years and seven mountings.
“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.
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.
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.
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.
Cycle II represented an embarrassment of musical riches.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
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” leaps to the end of the cycle with a slightly abridged Götterdämmerung featuring Amy Shuard as Brünnhilde.
We humans tend to dislike uncertainty, therefore there is something comforting going to opera revivals; you know exactly what you are going to get.
Helga Dernesch is the singer whom I largely credit for rekindling my love for opera.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
Riccardo Chailly’s appointment as La Scala’s new music director was news that I greeted with enthusiasm when first announced in 2013.
Tuesday the Met unveils its sixth new production of La Traviata since moving to Lincoln Center.
The Hungarian State Opera and Hungarian National Ballet opened their visit to Lincoln Center Tuesday night with the US stage premiere of their “national opera” Bánk Bán.
With Liber scriptus came the biggest discovery for me, the vocal talent of Elena Stikhina.
For opening night 2018, the Met offered the creaky but appealing biblical epic Samson et Dalila, presumably as a vehicle for Elina Garanca and Roberto Alagna.
This Sony Classical set of live performances covers a golden quarter century in the singing and staging of Wagner. Birgit Nilsson shared it with many other legends, and many of them appear on these discs.
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