The operatic offerings of Boston Early Music Festival — Keiser‘s Octavia and Telemann‘s Pimpinone and Ino — are delectable discoveries
On Tuesday night, in the commodious concert hall of the Morgan Library, the Boston Early Music Festival forces brought Georg Philipp Telemann’s Don Quichotte auf der Hochzeit des Comacho to New York.
Those of us in New York City who relish 17th century Italian vocal music were offered an enticing banquet over the past few weeks.
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.
For those who relish 17th and 18th century vocal music, the annual visits to the Morgan Library by the singers and instrumentalists of the Boston Early Music Festival invariably guarantee delight
Soprano Erin Wall died in early October, a month shy of her 45th birthday; Trove Thursday remembers her with a 2012 broadcast of Kaija Saariaho’s shimmering L’Amour de Loin.
Over the past week New York City was blessed by two appealing 17th century presentations: John Blow’s Venus and Adonis from Opera Lafayette and La Storia di Orfeo courtesy of the Boston Early Music Festival.
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
Dell’ Arte Opera Ensemble theme this summer is women composers, which is timely, and the more to be applauded as likely to turn up unusual works.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
Last week, a pair of terrific recitals demonstrated what kind of intimate spell a dramatic singer can cast when left alone with a piano.
At yesterday’s recital at the Morgan Library, Leah Crocetto sang as her encore Kern and Hammerstein’s “Can’t Help Lovin’ Dat Man.”
Who needs sets and costumes anyway?
For many in New York and around the world, if the name William Christie appears on a concert or opera program, it’s a must-attend.
“Is a work an opera simply because its creators choose to call it one?”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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