Emily D’Angelo, in a moment of subversion, sang the entire program wearing casual trousers, a vest, and chunky combat boots, her cropped hair slightly mussed, and wearing only light make-up.
Surrounded by security and greeted by a bevy of cameras, Su Majestad la Reina Sofía brought a bit of excitement to an evening that didn’t end up being all that musically rewarding.
LA Opera sent out an email warning that the production “contains depictions of blood, violence, and drug use, as well as strobe lights and a gunshot effect in Act III.”
Antony and Cleopatra was an auspicious start to San Francisco Opera’s second century, a performance that seems to improve as I continue to think about it.
This tenor must be the finest classical singer in the world today.
The New York City Opera has become an elusive “now you see it, now you don’t” presence in the New York opera scene since the departure of main sponsor and chairman of the board Roy G. Niederhoffer in 2019.
Trove Thursday previews next week’s BBC Proms presentation of Elgar’s The Dream of Gerontius with a 2008 broadcast conducted by Colin Davis with Sarah Connolly, Ben Heppner and Gerald Finley.
Monteverdi’s late Homeric masterpiece Il Ritorno d’Ulisse in Patria isn’t often performed in the United States.
Having had many memorable encounters with these characters before, I had been looking forward to encountering them again in an ambitious contemporary Oresteia, but I left the Armory feeling that writer-director Robert Icke just didn’t get it.
It is perhaps a misperception to suggest that Die Schweigsame Frau is stronger in the uncut version.
This week’s Trove Thursday—Kodály’s Háry János in a 1955 RAI broadcast in Italian led by famed Hungarian conductor Ferenc Fricsay—may be a bit brief as C-19 finally arrived last week chez CC.
Beverly Sills and Renée Fleming perform 30 years apart the same work with the same orchestra in the same venue!
The always elegant Véronique Gens has recently returned often to her earliest roots in the French baroque.
Since April four wildly varied incarnations of Hamlet have been haunting New York City theaters; the most recent to arrive was Robert Icke’s chicly contemporary take on Shakespeare’s play which opened last week at the Park Avenue Armory.
On Thursday June 30th, San Francisco Opera closed their summer season with a one-night-only special concert celebrating Eun Sun Kim’s first season as the Caroline H. Hume Music Director, in an aptly named concert “Eun Sun Kim Conducts Verdi.”
Your favorite box set-aholic here completely missed the release last August of Giuseppe Di Stefano – Complete Decca Recordings in honor of the great tenor’s centenary.
To conclude its triumphant season, last week the Met Orchestra performed its annual Carnegie Hall concerts under music director Yannick Nézet-Séguin and once again performed superbly.
The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.
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.
“This used to be a funhouse… but now it’s full of evil clowns / It’s time to start the countdown…. I’m gonna burn it down”
The elusive La dame blanche returned for one evening to New York City on May 28 thanks to the New Amsterdam Opera led by maestro Keith Chambers.
To celebrate Valerie Masterson‘s turning 85 tomorrow, Trove Thursday offers a second annual birthday salute to the English soprano.
The opera The Rake’s Progress, as many people know already, was inspired by a series of engravings and paintings of the same name by William Hogarth, showing the decline of a young man into depravity and insanity.
Pavarotti and Freni are gone but the Franco Zeffirelli Bohème remains.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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