Armide with a superbly grand Francophone heroine in Karina Gauvin and conducted by the always excellent Ivor Bolton.
To heck with Bayreuth and Salzburg, Glimmerglass and Santa Fe as Rosa Feola sang Mozart at Lincoln Center Friday night and I wouldn’t have been anywhere else!
August on “Trove Thursday” begins with Midsummer Mezzo Madness featuring a sterling quartet of lower-voiced ladies
Bard cultish Summerscape series continues to test our esoteric limits with Demon, Anton Rubinstein’s little-known opera about a demon who hankers for a Georgian princess.
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
This year’s Salzburg Festival opens Saturday with a new production of Mozart’s Die Zauberflöte, an opera often performed elsewhere in translation, so “Trove Thursday” offers two for the price (!) of one.
Caramoor imported the venerable West-Coast period orchestra Philharmonia Baroque to perform Atalanta, an obscure pastoral work by Handel.
What could go wrong? As it turned out: just about everything!
Winsome, tony, and studded with overbooked bistros, Tanglewood is not exactly crawling with bohemians these days.
“Trove Thursday” goes modest with Donizetti’s domestic comedy Don Pasquale featuring Ileana Cotrubas, Alfredo Kraus, Vicente Sardinero and Wladimiro Ganzarolli.
This week’s star-spangled “Trove Thursday” offers the second crazy-quilt installment of divas in the wrong language.
“Trove Thursday” offfers Joseph Martin Kraus’s superb Aeneas i Cartago, eller Dido och Aeneas—in Swedish!—starring a luminous Elisabeth Söderström as the doomed Queen.
“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.
New Amsterdam Opera’s concert version of Donizetti’s elaborate score La favorita, offered energy, panache and several top-notch young soloists.
On the occasion of the hundredth anniversary of your birth, I am perplexed as to what to write about you that isn’t of the highest, most ecstatic praise and of deliriously effusive encomiums.
The old adage “the third time’s the charm” proved to be the case with me and Daphne, Richard Strauss’s ravishing bukolische Tragödie, when I recently heard it performed by Franz Welser-Möst and the Cleveland Orchestra.
I attended the Sunday, May 13, performance with bittersweet anticipation.
“Trove Thursday” turns its Rossini-150 series to one of the composer’s least known but tastiest comic gems La Pietra del Paragone with Julia Hamari, Justino Diaz, Alessandro Corbelli, Claudio Desderi and Paolo Barbacini conducted by Roberto Abbado.
In the final installment of this interview, the star discusses the enduring appeal of Carousel.
I have a confession to make. I have been taking Rigoletto for granted.
How did you first grow interested in singing?
Heartbeat is, after all, a company that loves to tinker.
While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.
Maria Callas’s most outstanding Adalgisa, out of all she partnered with, was Fiorenza Cossotto.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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