The Cunning Little Vixen, Leos Janacek’s late-career opera—a wonderous work with an almost miraculous sense of charm and poignance—has found significant success in conservatories.
This is likely the best Giargiari Bel Canto competition year in my experience, evidenced in several important ways.
Reunited and it feels so good!
Opera Philadelphia’s return to the stage after two years was greeted by a cheering crowd who clearly would have been happy to stay longer, but as director David Devan acknowledged, this was a step in a continuing trajectory.
All in all, Mahler’s ethereal evocation of the natural world, and the world beyond our own, is becoming old hat.
I’ll just note that Cameron and I listened separately; we didn’t compare notes; and on our own, came up with the same list of top three singers… none of whom were among the actual winners.
Bess is clearly Angel Blue’s part—set in the richest and most shimmering upper middle portion of her voice, and optimally suited to her persona.
Pretty is its own reward.
Maestro Yannick Nézet-Séguin, always with a gift for gab, is ever more loquacious in concerts, often talking directly to the audience.
The Philadelphia Orchestra’s opening night concert, for better or worse, was not a gala evening starring Plácido Domingo.
I’ve never liked the term “crossover.”
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
Philadelphia is a city famous for its musical institutions—so, of course, at this time of year Messiah performances abound.
French conductor Emmanuelle Haïm debuted with the Philadelphia Orchestra this weekend, leading performances of Handel and Purcell.
One of the greats of classical music, Franz Joseph Haydn was a bit of an “also-ran” as an opera composer.
“Trove Maundy Thursday” offers a recent un-HIP version of Handel’s Messiah.
Curtis Opera Theater mounted a musically remarkable account of John Adams’ Doctor Atomic on March 2.
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
There was wonder and magic last night in Philly when The Philadelphia Chamber Music Society presented British tenor Mark Padmore and American pianist Jonathan Biss in a recital devoted to the songs of Schumann, Tippett, and Fauré.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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