There is a strong case to be made that George Fridrich Handel is the composer most suited to the present moment.
When the Staatskapelle Berlin announced a two-night engagement at Carnegie Hall performing all four Brahms symphonies, I immediately made a note in my calendar to attend. I also wondered who would be the conductor when the announced Daniel Barenboim inevitably withdrew.
As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
Renée Fleming arrived at Carnegie Hall on May 31 with something to prove.
I wish more sopranos programmed recitals like Fatma Said does.
What happens when you attend a performance and it doesn’t engage you?
Sondra Radvanovsky eschewed the customary stuffiness of the recital format, often speaking directly to the audience and putting her selections in a highly personal context.
To conclude its triumphant season, last week the Met Orchestra performed its annual Carnegie Hall concerts under music director Yannick Nézet-Séguin and once again performed superbly.
I wonder why many New Yorkers have been led to believe that the only Handel conductor in the world is Harry Bicket.
Joyce DiDonato admits that she is “a problem solver, a dreamer, and—yes I’m a belligerent optimist.”
The Boston Symphony and Alban Berg’s “Wir arme Leut” spread musical riches at Carnegie Hall.
The acclaimed singer and actress is joined by musical director Andy Einhorn for a varied selection of songs, as well as a conversation with CBS Sunday Morning correspondent Mo Rocca about the role of artistic expression in times of social change.
In Winterreise, Peter Mattei’s persona is burly and brusque, a sarcastic introvert, full of contempt for his romantic weaknesses with squalls of anger and lyrical reflection by turns.
Elina Garanca was radiantly present at Carnegie Hall Friday night performing a ravishingly somber Rückert-Lieder with Yannick Nézet-Séguin and the MET Orchestra.
Tenor Matthew Polenzani and pianist Julius Drake’s performance left this listener in a a state of euphoria.
Although she didn’t sing that eponymous song by Reynaldo Hahn at Weill Recital Hall Thursday evening, Sabine Devieilhe did offer an “exquisite hour” of early 20th century French songs.
It had something for everyone who loves loud chesty singing and smoky soft-singing: from Tchaikovsky to Rachmaninoff to Strauss…
With a program of Schumann, Wagner, Ravel and de Falla, mezzo-soprano Elina Garanca and pianist Kevin Murphy delivered a underdone performance at Carnegie Hall on Tuesday night.
As opera’s reigning tenor-superstar, Jonas Kaufmann can pretty much do whatever he wants and a sizable adoring public will lap it up.
Carnegie Hall’s season opener last night fetched the usual glitterati.
Celebrating Lenny’s 100th this year has made Candide ubiquitous at opera houses worldwide.
A heady audience paid top price to pack Carnegie Hall Thursday for just 80 minutes of unstaged Wagner.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
Touting an austere, governessy program—the hour-and-change Schubert/Müller cycle, Die schöne Müllerin—Jonas Kaufman fulfilled his long-awaited, high-profile return to Carnegie Hall last night.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
