On May 2, Rebecca Herman‘s conceptualizing of Carmen was a significant departure from the traditional depiction of a marginalized “other,” maintaining a traditional staging in Seville.
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.
In the lead up to LA Opera’s mounting of Turandot on May 18th (hooray!) I thought I’d touch on some of my favorite recordings and new re-masters I’ve discovered. I have them all.
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.
Her star is indeed on the rise, but squarely on her terms.
Madama Butterfly is the opera of the moment.
When it premiered at the Opéra Comique in 1875, Carmen shocked audiences with its frank depictions of female sexuality, the proletariat, and violence: subjects that have ensured the piece’s continued relevance and that have inspired numerous retellings and revisions.
“I come, I come! ye have called me long;
I come o’er the mountains, with light and song”
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
Only connect! So sayeth E.M. Forster (via Margaret Wilcox) in Howard’s End.
Chris’s Cache features a pair of performances of Iolanta with Tamara Milashkina and Asmik Grigorian
Mezzo-soprano Daniela Mack appeared at the Kennedy Center Terrace Theater this past Thursday with pianist Keun-A Lee in a thoughtful and distinctly personal recital program presented by Vocal Arts DC.
Hailed as the first opera by an African-American composer performed at the Metropolitan Opera, Fire Shut Up in My Bones was a huge audience and box office hit in the Fall of 2021 when it reopened the Met after two seasons shut down by COVID-19.
Oh, La traviata, how do I love thee? Let me count the recordings.
I confess to being a “bad” dance fan: over the decades I’ve learned that if I don’t love (or at least like) the music, I won’t love the dance.
On this day in 1975 Rossini‘s Siege of Corinth had its American stage premiere at the Metropolitan Opera
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
Matthew Polenzani returned triumphantly to his comfort zone in a Philadelphia Chamber Music Society recital on April 2.
On this day in 1975 soprano Magda Olivero made her historic, belated Metropolitan Opera debut as Tosca
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
Puccini’s schmaltziest, most melodic, most dramatically limp, most cynical, most obscure mature work
And what a luxury it is to experience this musically outstanding Parsifal with a cast of this caliber!
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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