Lisette Oropesa, a product of the Metropolitan Opera Lindemann Young Artist Program, has not been seen much on the stage of the Met in recent seasons.
Her star is indeed on the rise, but squarely on her terms.
Two short theatrical works and one sacred piece from the beguiling oeuvre of the guy who didn’t write Louise
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
Trouble was afoot from the first selection onward.
Philippe Jaroussky mentioned introducing his encores that he has not appeared in New York in 12 years.
Although I usually pretend that I don’t have the diva-worship gene, sharp-eyed readers of parterre box will know that since I joined the site in 2011 as “DeCaffarrelli” I have often swooned as an Ann Hallenberg-fanboi.
In this recital, the Polish bass-baritone Tomasz Konieczny and his pianist Lech Napierala present the world premiere recording of Stanislaw Baranczak‘s Podróz Zimowa (Winter’s Journey), which weds the poet’s meticulously crafted poetry to the music of Franz Schubert.
An unusually provocative program by the Orchestra of St. Luke’s conducted by Bernard Labadie with soloists Lydia Teuscher and Benno Schachtner made my “return” Thursday evening an illuminating and rewarding experience at Zankel Hall.
Iestyn Davies is, of course, a renowned Handellian, and he sang Handel’s music with clarity, restraint, and precision.
Peter Mattei, one of my two favorite baritones these days, in an unexpected title role, Britten’s Billy Budd.
Tenor Matthew Polenzani and pianist Julius Drake’s performance left this listener in a a state of euphoria.
There are, on rare occasions, moments in a live performance where some intangible symbiotic relationship between audience and performer creates an instant that borders on the sublime.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
b>Lawrence Brownlee, star tenor of stage and NFL games is a real “pillar of the community.”
Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.
Christophe Dumaux quickly slipped in and out of town this weekend to sing Handel and Vivaldi in a marvelous gala concert with the Sejong Soloists at Zankel Hall.
In the seventies and eighties Dominick Argento (who turned ninety this year) was one of the most oft-performed of American opera composers.
New York fans of 17th century Italian vocal music should be rejoicing this month.
Is this not Puccini’s greatest opera, his most human, least manipulative?
Tenor Paul Appleby’s onstage persona is as American as apple crisp, and he possesses the untroubled confidence of a politician.
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.
Might Max Emanuel Cencic be the countertenor for people who hate countertenors?
Polish singers are chameleons. They have to be.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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