Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
Those of us in New York City who relish 17th century Italian vocal music were offered an enticing banquet over the past few weeks.
Edward Hopper’s paintings from the 1930s and 1940s are simply lousy with windows.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
Handel’s Radamisto returned to New York when Opera Lafayette movingly performed this early masterpiece.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
I had my head in my hands groaning in disbelief instead of joining in the general applause around me.
Renée Fleming makes her belated “Trove Thursday” debut as Sandrina in a rare early performance of Mozart’s La Finta Giardiniera.
Sunday afternoon at Carnegie Hall two remarkable slices of soprano-heaven were served up, first by Carolyn Sampson and then by Erin Morley, during the second act of Handel’s Orlando.
An opera revolving around chastity vows, adultery, slut-shaming, lesbianism, transvestism and much more!
All those who have been in a rage since the news broke this week that the Metropolitan Opera has invited Calixto Bieito to stage Verdi’s La Forza del Destino can relax and embrace the Juilliard Opera’s new Le Nozze di Figaro which opened Friday night.
The Rape of Lucretia, now (through Sunday) enjoying a superb three-performance run at the Juilliard Opera’s Willson Theater (tickets are scarce; hie thee to the waiting list), was Benjamin Britten’s third opera and first “chamber opera,” composed for the tiny original theater at Glyndebourne,
For many in New York and around the world, if the name William Christie appears on a concert or opera program, it’s a must-attend.
A production as delectable as the current one (through Sunday) at the Juilliard Opera will make you wonder why Il Turco is not as well known as L’Italiana, Il Barbiere, La Cenerentola, even the odd and occasional Il Viaggio a Rheims.
Joyce, Javier and now Julia—this week these three remarkable Js brought New York City memorable “Cinderella stories.”
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
Juilliard Opera presented an under-ripe yet moving performance of Poulenc’s masterpiece Dialogues des Carmelites on Wednesday. Promising young singers surmounted a dodgy production and stiff musical direction with intelligent singing and contagious enthusiasm.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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