It is perhaps a misperception to suggest that Die Schweigsame Frau is stronger in the uncut version.
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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.
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.
Intolleranza was presented by Leon Botstein and his American Symphony Orchestra at Carnegie Hall on Thursday night, holding the audience rapt and intrigued for 65 minutes.
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?
“Joined by the Collegiate Chorale Singers, Leon Botstein and the ASO perform perhaps the most popular German opera ever to have sunk into obscurity!”
Each year, Leon Botstein leads the American Symphony Orchestra in a concert opera or two.
Sergey Taneyev, pupil of Tchaikovsky and teacher of Scriabin and Rachmaninov, composed just one opera, Oresteia, premiered in 1895 when he was 39.
There has never been a successful vampire musical—so they say. But that’s just not true.
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.
