William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
George Frideric Handel (born 341 years ago on Monday) composed over 40 operas including many masterpieces, but his Giulio Cesare is the one that everyone knows best.
As Messiah season begins, Christopher Corwin reports on two of Handel’s forays into the Old Testament.
Before stopping at Carnegie Hall this weekend, The English Concert returned to the Bay Area last week with a fiery performance of Giulio Cesare
We may all be armchair Handelians, but some of us are more used to it than others.
There is a strong case to be made that George Fridrich Handel is the composer most suited to the present moment.
I can still vividly remember the first time the music of George Frideric Handel made an impression on me.
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.
Next Wednesday is the composer’s 337th birthday, so Trove Thursday previews this spring’s most enticing Handel performance with two very different live versions of his delightful Serse,.
Handel’s Radamisto returned to New York when Opera Lafayette movingly performed this early masterpiece.
Amadigi di Gaula performed the Opera Settecento orchestra last Saturday night at St. George—Handel’s own parish church—fit perfectly into the venue.
I don’t usually attend a performance of an opera I’ve known well most of my life expecting a revelation.
Thanks to the generosity of a parterre reader, “Trove Thursday” presents a rare recording from the famed Carnegie Hall series curated by Matthew Epstein to commemorate Handel’s tercentenary.
Sunday afternoon at Carnegie Hall two remarkable slices of soprano-heaven were served up, first by Carolyn Sampson and then by Erin Morley, during the second act of Handel’s Orlando.
A 1984 performance of Handel’s Orlando with Marilyn Horne, Valerie Masterson, Marvis Martin, Jeffery Gall and Robert Lloyd, conducted by Charles Mackerras.
Fans of divas who sing 19th and 20th century opera may find themselves searching in vain for CDs to buy with this season’s gift cards, since their idols so rarely put out solo recitals these days.
William Christie’s Les Arts Florissants made a much-anticipated appearance at Lincoln Center’s White Light Festival Saturday performing Theodora.
Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall.
New York City isn’t a bad place to live, operatically-speaking.
His shaved head in striking contrast to his dark beard and glinting eyes, the implacable Tartar conqueror glowers at us from the CD cover, while the uncropped photo of countertenor Xavier Sabata (above) is even more disturbing, featuring his raised fist and forearm tightly wrapped in a leather belt.
Sunday afternoon’s intermittently involving concert performance of Handel’s Alcina at Carnegie Hall starred an unusually intense Joyce DiDonato as a powerful sorceress blinded by her romantic delusions.
After listening to “Stella di Napoli,” her mightily impressive new CD
of rare bel canto arias just released by Erato, I felt many of the old sparks reigniting.
We must be doubly grateful that The English Concert’s recent Theodora was so quickly followed by the American Classical Orchestra’s fine Samson on Tuesday evening at Alice Tully Hall.
Joined by the Choir of Trinity Wall Street, The English Concert concluded the US leg of its current tour at Carnegie Hall Sunday with a complete performance of the darkly moving Theodora, Handel’s penultimate oratorio.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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