It is perhaps a misperception to suggest that Die Schweigsame Frau is stronger in the uncut version.
By David Fox
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Lawrence Brownlee “Rising” at Carnegie Hall
Tenor Lawrence Brownlee, “one of the most in-demand opera singers in the world today” (NPR), performs an anticipated program of newly commissioned works with texts drawn from great Black authors and poets of the Harlem Renaissance. Thursday, March 23 at Carnegie Hall. (Photo: Zakiyah Caldwell Burroughs)
Like many composers of his generation, Ernest Chausson was enthralled by Wagner and he too turned to legend for his only opera, one that would consume him for final decade of his brief life.
Bard SummerScape’s concert staging of Die Tote Stadt emerged triumphant thanks to Clay Hilley and Sara Jakubiak.
What is the best metaphor for this year’s Bard Music Festival?
By David Fox
The aphorisms projected before each act of Das Wunder der Heliane suggested the work concerns the transformative power of love—but does it really?
Bard cultish Summerscape series continues to test our esoteric limits with Demon, Anton Rubinstein’s little-known opera about a demon who hankers for a Georgian princess.
By Joel Rozen
If you’ve ever wondered what the Lost Boys’ abode might look like lined with mermaids, shopping carts, and unpeeled potatoes, look no further than Christopher Alden’s new production of Peter Pan.
By Joel Rozen
Bard College presented a semi-staged concert of Halka on Saturday evening as part of its impressively wide-ranging two-week “Chopin and his World” festival.
You’d think by now I’d know better than to make snap judgments about an opera or a singer—but apparently not.
“You see, Elaine, Dimitrij was a simple country boy, you might say a cockeyed optimist…”
By La Cieca
This year as part of Bard’s “Puccini and His World” festival audiences may witness the resurrection of Mascagni’s distinctly odd Iris.
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
Sergey Taneyev, pupil of Tchaikovsky and teacher of Scriabin and Rachmaninov, composed just one opera, Oresteia, premiered in 1895 when he was 39.
By John Yohalem
Camille Saint-Saëns was such a brilliant, facile musician that pals like Wagner and Liszt felt a distinct schadenfreude when he suffered composer’s block.
