That Trump opera at the Staatsoper Hamburg is lazy activism at its finest, we fear.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
Chris’s Cache wraps up November with Régine Crespin’s Chicago Leonore; two rare Met Fidelios headed by Christa Ludwig and Hildegard Behrens; and a concert performance with Birgit Nilsson led by Leonard Bernstein, plus a final twist: excerpts of Carol Vaness in Leonore.
Today’s Chris’s Cache features live recordings of Otello most noteworthy for their Desdemonas: (in chronological order) Teresa Stratas, Julia Varady, Eva Marton and Karita Mattila.
Two of the leading postwar Czech sopranos appear together in Janacek’s Kát’a Kabanová when Trove Thursday presents Gabriela Benacková‘s gleaming heroine in her US debut relentlessly persecuted by Nadjezhda Kniplová’s implacable mother-in-law.
We humans tend to dislike uncertainty, therefore there is something comforting going to opera revivals; you know exactly what you are going to get.
Lyric Opera of Chicago opened its 2017-18 season on Saturday evening with a new production of Gluck’s Orphee et Eurydice in the 1774 Paris version.
A rollicking performance of his delightful comic opera Der geduldige Sokrates featuring a fine cast and the magnificent Akademie für Alte Musik conducted by René Jacobs.
This week “Trove Thursday” brings a rare in-house recording of a visit to the Metropolitan Opera House by the Staatsoper Hamburg presenting Stravinsky’s The Rake’s Progress with a deluxe cast
One of opera’s great “what ifs?” is what would young Erich Wolfgang Korngold have contributed to the repertoire had the likes of The Adventures of Robin Hood not beckoned him to Hollywood?
Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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