It was thrilling to see and hear Will Crutchfield’s insights come to life onstage in performance when Teatro Nuovo performed Poliuto at the Rose Theater at Jazz at Lincoln Center Wednesday July 19.
Beauteous Trinidadian soprano Jeanine De Bique appeared Sunday afternoon with the visiting Budapest Festival Orchestra under Ivan Fischer.
Trove Thursday offers Bellini’s La Sonnambula with Anna Moffo (San Francisco 1960) and Anna Netrebko (Vienna 2006).
Can a work with indisputably great music fail to add up to a successful opera? I puzzled over that Sunday during Teatro Nuovo’s essential concert staging of Rossini’s La Gazza Ladra at SUNY Purchase.
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
Only the Sound Remains introduced Americans to the latest collaboration between dazzling Finnish composer Kaija Saariaho and hirsute metteur-en-scène Peter Sellars.
Sometimes the fates conspire, preventing an artist from recording the role for which he is his generation’s touchstone.
Armide with a superbly grand Francophone heroine in Karina Gauvin and conducted by the always excellent Ivor Bolton.
What could go wrong? As it turned out: just about everything!
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.
Is this not Puccini’s greatest opera, his most human, least manipulative?
La Campana Sommersa (The Sunken Bell), which is being presented by the New York City Opera at the Rose Theater through April 7, is a true oddball.
New York City Opera has officially launched its “renaissance” at Lincoln Center’s Rose Theater last night with a production of Puccini’s Tosca that should please a lot of older, conservative audiences, if not the adventurous operagoers that City Opera courted in the past.
America hasn’t exactly been vigorous about commemorating the 250th anniversary of the death of Jean-Philippe Rameau.
While many performing arts organizations have been reducing their schedules or even closing, Opera Lafayette, a Washington DC-based group dedicated primarily to 17th and 18th century opera, has proven remarkably prosperous.
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.
After the success of its Don Giovanni in 2011, Lincoln Center invited Iván Fischer and his Budapest Festival Orchestra to return for the Mostly Mozart Festival premiere (!) of the first of Mozart-da Ponte’s three masterpieces Le Nozze di Figaro late Sunday afternoon at the Rose Theater.
After 23 years, the Queen of Carthage has finally made it to Manhattan.
Scanning this summer’s Mostly Mozart schedule one wondered if New York really needed another Don Giovanni right now? And one with a non-starry cast where the best-known name was the Commendatore, Kristinn Sigmundsson?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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