Supported by an ingenious production and strong performances, Antonia Bembo’s Ercole Amante makes a successful Paris Opera debut.
The Ralph Fiennes production of Eugene Onegin at the Paris Opera is just…fine.
“When there’s so much to get right, unsurprisingly a lot can and, as we all know, does go wrong.”
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
Krzysztof Warlikowski‘s Der Rosenkavalier at the Théâtre des Champs Elysées surpasses even Nigel Wilkinson‘s high ‘WTF threshhold’
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars‘s new production of Rameau‘s Castor et Pollux in Paris.
It was, at least, a jolly good show. Whether or not it actually suited Stravinsky’s music or Auden and Kallman’s text, is another question.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
A pair of Hasse works: the all-male oratorio I Pellegrini al Sepolcro di Nostro Signore, plus the popular serenata Marc’Antonio e Cleopatra.
Trove Thursday previews Massenet’s Werther—due to return next month at the Met—with a 1984 Paris performance starring two marvelous protagonists, Tatiana Troyanos and Alain Vanzo.
Trove Thursday marks Mozart’s 264th birthday on Sunday with the 14-year-old’s remarkable opera seria Mitridate, Re di Ponto .
Although stripped down, this comedy of manners was far from boring due to well-choreographed movements and actions of the characters.
Sometimes the fates conspire, preventing an artist from recording the role for which he is his generation’s touchstone.
In his first appearance on the stage of Paris’ Palais Garnier, Roberto Alagna, as the newly knighted Rodrigue, was confronted with a profound dilemma.
“With radiant looks, we shall depart this world,” sing Konstanze and Belmonte near the end of Mozart’s exotic yet charming opera Singspiel Die Entführung aus dem Serail.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
That’s what it must have been like in 1726 London when Handel composed Alessandro for perhaps the three most famous (and expensive) singers of the day.
Camille Saint-Saëns was such a brilliant, facile musician that pals like Wagner and Liszt felt a distinct schadenfreude when he suffered composer’s block.
Every year New York City opera-lovers eagerly anticipate the autumn because it means that summer is finally over and we can get back to serious opera-going, and this September promises “The Battle of the A’s.”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.