Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
An extraordinarily rich variety of opera happens locally, under the umbrella of New York Opera Fest.
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
A Countertenor Cabaret, starred no fewer than 14 of these once-rare songbirds, in the cabaret space of the Duplex on Sheridan Square.
The internecine machinations of those who ruled—or sought to rule—the Roman Empire have long provided rich material for writers and composers, and on Thursday evening operamission continued its ambitious plan to stage in chronological order all of Handel’s operas by presenting one of the most delicious of those Roman-based works, Agrippina which premiered in Venice in 1709.
I can think of no other case that resembles Handel’s complex relationship to the story—derived from Ovid’s Metamorphoses—of the ill-fated love between the shepherd Acis and the sea nymph Galatea.
Probably no more than 100 gathered Tuesday in a curtained-off space in the lobby of NYC’s Gershwin Hotel to witness the North American premiere of Rodrigo by operamission.
Giulio Cesare at the Met proved an evening that added up to much more than the sum of its uneven parts.
Sneaking in under the wire during the final week of May were two highpoints of New York’s opera season: the Cleveland Orchestra’s Salome with a stunning Nina Stemme and operamission’s revelatory US stage premiere of a complete edition of Handel’s first opera Almira.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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