Les Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
Christopher Corwin picks the flowers of a baroque May in New York City with reviews of concerts starring Lauren Snouffer, Key’mon Murrah, and the Oratorio Society of New York.
As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
An excellent Věc Makropulos at Opéra de Lille makes the case for the vitality and necessity of France’s regional companies.
I can’t say 2025 was my best operagoing year; apart from a superb Fille du régiment, most of my good nights at the opera were decidedly mixed affairs.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
The Jupiter Ensemble with Lea Desandre and Anthony Roth Costanzo offers sleek and sexy HIP inaugurates the Frick Collection’s new Stephen A. Schwartzman Auditorium
Sofia Coppola‘s cult classic Marie Antoinette is best known for blending a whimsically baroque visuals with a post-punk score.
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
William Christie curates an evening of French Baroque music in a live broadcast from Carnegie Hall.
Those of us in New York City who relish 17th century Italian vocal music were offered an enticing banquet over the past few weeks.
Marc-Antoine Charpentier and Thomas Corneille’s Médée is a monument of the 17th century French baroque lyric tragedy.
Two short theatrical works and one sacred piece from the beguiling oeuvre of the guy who didn’t write Louise
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.
This showcase concert gave notice that countertenor Hugh Cutting is among the most promising artists of his generation.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
The English Concert’s annual Handel tour brings Solomon conducted by Harry Bicket to the US beginning Sunday March 5. In anticipation, Chris’s Cache offers Solomon plus four other oratorios by the master: Belshazzar, Hercules, Saul and Jephtha, all via broadcasts for which I feel a personal connection.
On the train ride home I was thinking that I don’t want to see or hear Norma ever again.
Monteverdi’s late Homeric masterpiece Il Ritorno d’Ulisse in Patria isn’t often performed in the United States.
The always elegant Véronique Gens has recently returned often to her earliest roots in the French baroque.
For those who complain (not entirely unfairly) that Handel operas are “just a string of da capo arias,” I sometimes mutter to myself, “Have they ever tried Rameau?”
While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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