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.
Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
Baritone John Brancy smoothly traverses the American songbook at Carnegie Hall.
Diana Soviero chats with Roger Pines about six decades of performing, four decades of teaching, and how she’s handing the tradition off to the next generation.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
Sherrill Milnes sits down with Brendan Latimer to talk about his life, career, and what he hopes to pass along to the next generation
This Clemenza seemed more or less unconcerned with the opera’s political imagination, content to take Tito at his word that his rule is morally enlightened and the citizens at theirs that a benevolent dictatorship is a wonderful thing indeed.
Two of France’s leading Early Music ensembles recently visited New York City to perform music by some of the 17th century’s leading composers.
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
Why is so twinkling, tuneful a score so little known?
Jordi Savall and William Christie, 80 and 77 respectively, stand as the two senior masters whose recordings and appearances have done the most over the past decades to build a healthy local enthusiasm for pre-Classical music.
Young voices ringing out Stravinsky’s witty melodies at close quarters gives great pleasure if you are fond of this witty score and its many parodies of early operatic cliché.
Next Wednesday is the composer’s 337th birthday, so Trove Thursday previews this spring’s most enticing Handel performance with two very different live versions of his delightful Serse,.
November in New York hosts two premieres dedicated to mythology’s greatest musician, which prompts Trove Thursday to present a vintage Monteverdi L’Orfeo with Judith Raskin and Gérard Souzay conducted by Leopold Stokowski (!) and a recent HIP London broadcast of Luigi Rossi’s L’Orfeo.
By an astounding coincidence, on Monday night Handel’s third and fourth extant operas were being performed simultaneously across the street from each other at Lincoln Center.
Do we do what we have to do? Or do we have to do what we do?
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
Oh, that slippery Don Giovanni—so elusive, so chaotic, so open to no end of interpretation!
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
There are two delights here: a delectable score too rarely heard and an introduction at close quarters to half a dozen young singers ready for takeoff, indeed already flying.
Whatever its flaws, La finta giardinera is indeed a wise rep choice for grad students eager to cut their teeth.
Bard College presented a semi-staged concert of Halka on Saturday evening as part of its impressively wide-ranging two-week “Chopin and his World” festival.
Can a surfeit of pleasure become—in the end—unsatisfying?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.