Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
Daring reimaginings of Cocteau and Wilde take the stage at the Los Angeles Philharmonic.
Ahead of his first season as the Music & Artistic Director of the New York Philharmonic, how much longer can — and should — Gustavo Dudamel stay quiet about the situation in his native Venezuela?
Esa-Pekka Salonen and The Los Angeles Philharmonic serve a feast for all five senses.
As an opera fanatic who was baptized by the blood of Leontyne Price, the Messa da Requiem by Giuseppe Verdi appeared on my radar fairly soon after I started delving into the operatic canon.
“The distance between dreams and reality is called action.” – Brian Tracy
“What I am trying to achieve is to be what I am to the fullest. Black to the fullest, a musician to the fullest, a homosexual to the fullest.”
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
When the New York Philharmonic announced Gustavo Dudamel as its next music director earlier this year, speculation arose immediately as to who would take his place out West when he leaves the Los Angeles Philharmonic in 2026.
David Devan may be leaving the company, but there can be no better living tribute to him than this extraordinary work, which in 90 minutes gives us everything we could want from a new opera
This was by far my most satisfying experience with Pelléas et Mélisande for a multitude of reasons and I encourage anyone who’s even mildly curious to find their way to the Music Center for a very rich experience.
Trove Thursday’s belated contribution to last weekend’s Platinum Jubilee is a broadcast from Aldeburgh of Benjamin Britten’s Gloriana with Christine Brewer and Tom Randle as Elizabeth and Essex, an opera which premiered 69 years ago yesterday.
Remember that time you went to the opera and the whole evening was like magic? Saturday night at the Dorothy Chandler Pavilion probably ranks among my greatest nights in the theater and I’m finding the superlatives in my thesaurus inadequate to the task.
When LA Opera finally decided to put a toe in the water and mount its first production since the start of the Covid-19 pandemic, it was Igor Stravinsky‘s opera/oratorio Oedipus Rex.
Imagine my surprise then when I discovered a new recording of Tristan und Isolde released by Navona Records, a small label based in New Hampshire that primarily focuses on recitals of chamber music, solo works, and smaller ensemble pieces.
I still remember, and some of it quite vividly, what it was like to experience Achim Freyer‘s intense and groundbreaking Ring production all these years later.
My introduction to the work was the Angel LP from 1964 with Elisabeth Schwarzkopf and George Szell… and yes, I’m aware that it’s a performance that tends to divide rooms.
I’ve heard starrier performances, but none that made a more powerful case for this masterwork.
Trove Thursday presents a double dose of the Verdi Messa da Requiem performed by the Los Angeles Philharmonic.
Elina Garanca was radiantly present at Carnegie Hall Friday night performing a ravishingly somber Rückert-Lieder with Yannick Nézet-Séguin and the MET Orchestra.
At Friday’s opening of Otello, there was a good deal of interesting going on, though not all of it necessarily onstage.
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
The Hollywood Bowl is truly the preeminent musical venue in Los Angeles.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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