Were Joan Sutherland and Marilyn Horne 20th century opera’s ultimate same-sex pairing?
The lovely English soprano Valerie Masterson turns 84 today, prompting Trove Thursday to present her in a pair of her specialties.
Pauline Tinsley, who died May 11, made few commercial recordings; Trove Thursday offers the thrilling English soprano in excerpts over nearly two decades from nine works ranging from Handel to Richard Strauss.
The American Opera Society introduced many important singers to New York City audiences, but few were as controversial as the Greek soprano Elena Souliotis; Trove Thursday offers her local debut (at age 23) in Anna Bolena with Marilyn Horne, Janet Baker, Plácido Domingo and Carlo Cava.
During the 70s, Kiri Te Kanawa, particularly singing Mozart, became one of my favorite singers.
Michael Fabiano in one of his specialties as the dashing hero of Il corsaro torn between Tamara Wilson and Nicole Cabell.
Few operas scream “summertime easy listening” like Pfitzner’s Palestrina—all 225 minutes of it—so Trove Thursday presents a performance from the Royal Opera’s 1997 New York visit conducted by Christian Thielemann.
With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
I need to get something off my chest. I love bel canto.
Bring your family: This show is special! Such perfect opera is hard to find!
“Trove Thursday” presents for the third annual installment of “Handel for my Birthday” a wickedly ideal Felicity Palmer dominating Agrippina.
From the technical standpoint San Francisco Opera’s Billy Budd was pretty much flawless.
Beauteous Trinidadian soprano Jeanine De Bique appeared Sunday afternoon with the visiting Budapest Festival Orchestra under Ivan Fischer.
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.
“Trove Thursday” turns to Jacopo Foroni’s rare 1849 historical melodrama Cristina, Regina di Svezia to commemorate the 330th anniversary tomorrow of that enigmatic monarch’s death.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
Peter Mattei, one of my two favorite baritones these days, in an unexpected title role, Britten’s Billy Budd.
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
“I am an artist first, but also Catholic and homosexual.”
While 4.48 Psychosis is an intricately-crafted, deeply moving portrait of human agony, Pancho Villa from a Safe Distance lacks the creative clout to realize its artistic ambitions.
Tuesday the Met unveils its sixth new production of La Traviata since moving to Lincoln Center.
Washington Concert Opera on the occasion of Gounod’s 200th birthday presented the American premiere of his first opera, Sapho.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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