What must have raced through the mind of the none-too-comely Spanish Infanta when she learned that the opera to be performed during the celebrations for her 1745 wedding to the French Dauphin revolved around the comeuppance of an ugly yet vain water nymph tricked into believing Jupiter was her ardent suitor?
For one week every two years since 1981 the eyes—and ears—of those interested in period performance turn to the Boston Early Music Festival, particularly to its opera centerpiece, but that organization doesn’t rest on its laurels in between festivals.
I can think of no other case that resembles Handel’s complex relationship to the story—derived from Ovid’s Metamorphoses—of the ill-fated love between the shepherd Acis and the sea nymph Galatea.
Marc-Antoine Charpentier’s opera David et Jonathas, written for a celebration at a Jesuit school in 1688, premiered together with a Latin verse drama, Saul, now lost.
In the program for Opera Omnia’s production of Monteverdi’s Il ritorno di Ulisse, Crystal Manich, the company’s stage director, speaks of producing “baroque works in non-traditional ways.”
Seventeenth century opera remains the true connoisseur’s delight partly because it’s so rarely done.
East is West and West is East—the border ever less easy to fix.
For decades thousands and thousands have attended Handel’s Messiah (usually around Christmas or more appropriately near Easter) making it easily one of the most widely known works of classical music.
You have only until Sunday to catch the most heart-breaking moments seen on New York City operatic stages this season.
Giulio Cesare at the Met proved an evening that added up to much more than the sum of its uneven parts.
Nearly 30 years after a Handel opera last played there, Carnegie Hall presented The English Concert opening a three-year opera-oratorio project on Sunday afternoon with Radamisto.
Cecilia Bartoli and Joyce DiDonato are not the only ladies who have recorded recitals this year featuring music from the 17th and 18th centuries.
The theatrical expression “You can’t tell the players without a program” was never more apt than when applied to Opus Arte’s release of Cavalli’s La Didone.
If you’re the sort who prefers his diva to be an unapproachable sphinx prone to infuriating cancellations while radiating ennui, I suspect that the sunny, hard-working, grateful persona of American mezzo soprano Joyce DiDonato will not appeal to you at all.
After 23 years, the Queen of Carthage has finally made it to Manhattan.
Rule Britannia? Often during the Olympics that famous number from Thomas Arne’s 1740 Alfred echoed in my ears.
By the end of its 2012-13 season, the Met will have presented four HD transmissions in less than two years featuring countertenors in prominent roles.
Almost exactly one hundred years ago on March 18, 1912, the Metropolitan Opera gave its final performance to date of Armide.
The New Year’s Eve gala at the Met ushering out 2011 was the world premiere of the much-anticipated mash-up The Enchanted Island AKA “baroque opera for those who hate (or at least don’t know) baroque opera.
Many American opera-lovers take the “Grand Tour”—a pilgrimage to Europe to attend opera at its great houses—Peter Grimes at the Royal Opera in London or Otello at La Scala in Milan, or perhaps for the more well-heeled a visit to the summer festivals of Glyndebourne, Salzburg or Aix-en-Provence.
Every year New York City opera-lovers eagerly anticipate the autumn because it means that summer is finally over and we can get back to serious opera-going, and this September promises “The Battle of the A’s.”
Noticing how often she turns up lately, one might guess that the operatic “heroine” for the global economic crunch is Medea, the mythological Greek sorceress and filicide.
Scanning this summer’s Mostly Mozart schedule one wondered if New York really needed another Don Giovanni right now? And one with a non-starry cast where the best-known name was the Commendatore, Kristinn Sigmundsson?
Despite baby-steps over the years, America’s musical scene, especially opera, remains decidedly un-HIP. (HIP: “historically-informed performance,” also called “period performance.”) While European opera houses turn increasingly to “original instrument” orchestras and specialist singers for seventeenth and eighteenth century works, this rarely occurs in the US.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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