Starting March 19, Vocal Arts DC’s latest virtual concert lavishes listeners with a sumptuous recital of art songs from the Norwegian soprano Lise Davidsen.
Saturday marks the centenary of Julius Rudel’s birth which Trove Thursday celebrates with Le Coq d’or, Faust and Ariodante, a triple-bill showcasing his impressive versatility, featuring Beverly Sills and Norman Treigle, two of the most important artists he nurtured during his leadership of the New York City Opera.
Kennedy Center could not have predicted just how aptly Saturday evening’s rescheduled recital of 2020 Marian Anderson Award winner, baritone Will Liverman, would respond to the moment.
Trove Thursday presents Alzira—derided by some as Verdi’s worst opera—in a 1968 Carnegie Hall concert with Gianfranco Cecchele, Louis Quilico (star of last night’s Met Rigoletto stream) and Elinor Ross, who died in March at age 93.
Stephen Sondheim turns 90 on Sunday, prompting Trove Thursday to present his most “operatic” work, Sweeney Todd, in a rare 2002 performance with Christine Baranski and Brian Stokes Mitchell as the murderous duo.
Over the past two decades, the understatedly beguiling Sasha Cooke has inched chronologically inwards in her subtle conquest of swathes of mezzo concert repertoire.
Christian Gerhaher delivers a Kindertotenlieder of such conciliatory tact that it erases all others.
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
“Trove Thursday” presents two live versions of Sunday in the Park with George.
If I had to live with just one Tchaikovsky opera, it would be Iolanta.
I mean, how often does one get to hear Bernstein’s gorgeous, rollicking, and varied score nursed by a full orchestra and the artistic resources of an opera company?
>Verdi’s marvelous yet neglected Luisa Miller finally returns to the Met later this month after an absence of a dozen years so “Trove Thursday” provides a preview.
Out of a literal perforation in the horizon of the Nebraskan prairie emerges Proving Up, the most convincing case I have ever seen for modern American opera.
I had a panic attack, that’s how moved you made me.
Could Barbara Hannigan be Joni Mitchell’s classical counterpart?
Washington National Opera’s lukewarm Alcina, unthreateningly misguided in both its musical and theatrical values, made little impact.
Going into Washington National Opera’s final presentation of the season, Madama Butterfly, I feared that I might be geisha’d out.
I don’t usually attend a performance of an opera I’ve known well most of my life expecting a revelation.
Washington National Opera’s American Opera Initiative, now in its 5th year, keeps the opera flame alight at the Kennedy Center during the long winter stretch between mainstage WNO productions.
“Trove Thursday” offers a sparkling performance of Rossini’s La Cenerentola from our nation’s capital featuring the scintillating conducting of Claudio Abbado and Lucia Valentini-Terrani in the title role.
The good news is that the first concert was devoted to the exceptional artistry of Lawrence Brownlee.
Thanks to the generosity of a parterre reader, “Trove Thursday” presents a rare recording from the famed Carnegie Hall series curated by Matthew Epstein to commemorate Handel’s tercentenary.
WNO’s first complete Ring Cycle continued Monday evening with a revamped version of the Die Walküre first seen at the Kennedy Center in 2007.
Happily, this Rheingold, which returned to the Kennedy Center Saturday night to open the first of three complete cycles, has been shorn of its clumsier gestures.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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