I had a panic attack, that’s how moved you made me.
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Last week, a pair of terrific recitals demonstrated what kind of intimate spell a dramatic singer can cast when left alone with a piano.
At yesterday’s recital at the Morgan Library, Leah Crocetto sang as her encore Kern and Hammerstein’s “Can’t Help Lovin’ Dat Man.”
There was a moment during Natalie Dessay’s performance of Schubert’s “Gretchen am Spinnrade” when the singer summoned the ghost of her former self.
The best part of Paul Appleby’s recital for the Philadelphia Chamber Society came in his last two groups.
Javier Camarena offered a performance carefully calibrated to a more intimate venue that nonetheless offered emotionally potent results.
Washingtonians enjoyed a happy reunion this past Sunday with David Daniels.
Besides the heavens and a sweater in The Devil Wears Prada, it is the hue of Hibla Gerzmava’s soprano, in contrast to the red or rose or red-orange voices of most sopranos.
I was greatly anticipating Karita Mattila’s recital on Friday in Toronto’s Koerner Hall.
There was wonder and magic last night in Philly when The Philadelphia Chamber Music Society presented British tenor Mark Padmore and American pianist Jonathan Biss in a recital devoted to the songs of Schumann, Tippett, and Fauré.
Readers of this site are typically up to speed on emerging vocal talents, so clearly there is no need for me to write a review of Chilean-German soprano Carolina Ullrich’s riveting recital at the Paris Opera?
Austrian mezzo Angelika Kirchschlager left an incomplete impression as a Lieder singer Sunday night, in a quirky recital program of Brahms, Wolf, Mahler and Reynaldo Hahn, with pianist Warren Jones. Suffering from a cough and swallowing some words, Ms. Kirchschlager succeeded more in gesture than details. Breezing through Brahms’ songs “Meine liebe ist grün,” “Über die Heide,” and “Salome,” faux-naïve songs…
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