Featured in a new Barrie Kosky production: Kyle Ketelsen, Ain Anger, Hanna-Elisabeth Müller, Stanislas de Barbeyrac, Kate Lindsey, Philippe Sly, Patricia Nolz and Peter Kellner.
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From the 2017 Bayreuth Festival, Barrie Kosky’s Die Meistersinger, conducted by Philippe Jordan.
In Moses und Aron Schoenberg’s struggle with the essence of his own Jewishness is the cosmic glue that bonds Kosky’s to Schoenberg’s vision.
Why did I mostly want to close my eyes and just listen?
Live from the Komische Oper in Berlin: the premiere of Barrie Kosky‘s new production of La bohème.
Director Barrie Kosky’s Glyndebourne 2015 production of Handel’s 1739 oratorio Saul (released on Opus Arte DVD) shows imagination as well as a strong cast and design team.
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.
The revival of Mozart’s The Magic Flute at the Music Center downtown, last seen at LA Opera in 2013, is reason for jubilation for everyone except perhaps the singers engaged.
Forget the hurricane preparations for a few hours this afternoon and enjoy the live webcast of Les Contes d’Hoffmann from the Komische Oper Berlin, starting at 12:55 PM.
As is happening increasingly in opera productions today (e.g., the Rosenkavalier in Stuttgart), the action of Moses und Aron at the Komische Oper begins some minutes before the music does.
The Berlin Komische Oper was the scene of one of my greatest opera experiences five years ago, so I particularly looked forward to a return to this theater.
Your doyenne and her faithful confidante Dawn Fatale are off later this week for a safari, seeking the wild Regie in its natural habitat.
For decades thousands and thousands have attended Handel’s Messiah (usually around Christmas or more appropriately near Easter) making it easily one of the most widely known works of classical music.
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