When I saw that Richard Bonynge AC CBE, conductor and musicologist supreme, had authored a book titled Chalet Monet about the home he shared with his wife, La Dame Joan Sutherland OM AC DBE, in Les Avants, Switzerland I practically had to wipe my chin.
What happens when you attend a performance and it doesn’t engage you?
Joyce DiDonato’s Eden immerses listeners within a centuries-spanning musical meditation that channels the majesty of our natural world.
Shortly before Tuesday’s performance of Salome at La Scala, I did something I rarely do: I took a mirror selfie.
It doesn’t get more classic than John Dexter‘s Dialogues des Carmélites.
On paper, the Met’s revival of L’elisir d’amore looked like a lovely evening. And at times it was—a few scenes hinted at what it could be and what it might yet become.
We constantly wonder whether the young man will embrace him—or slit his throat.
Du Yun is the Pulitzer Prize-winning composer of Angel’s Bone. Her new opera, In Our Daughter’s Eyes, a one-act monodrama for bass-baritone and an orchestra of six, opened the current tenth Prototype Festival, in a performance at the Baruch Performing Arts Center, starring erstwhile Met regular Nathan Gunn.
Plink. A marble drops into a bowl. A brief yelp from glass, and a dozen, a hundred, a thousand years pass. Eventually the bowl is full of marbles, each one a tiny globe.
The first time I heard of Ermonela Jaho it was as the ultimate understudy. In the aughts it seemed that every time Angela Gheorghiu or Anna Netrebko or whoever canceled, Jaho was standing by.
Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.
Do you ever wonder how easy it is to invent a Christmas tradition?
That Some Like It Hot—this season’s high budget and high-profile Broadway musical—fizzles rather than sizzles is not only a disappointment, but also a bit of surprise.
In a lovingly curated program of art songs, Ying Fang and the pianist Myra Huang presented pieces hailing from four different national traditions.
A main theme in Becky Nurse of Salem is how history is distorted by those who get to tell it.
Perhaps the quirkiest of Mahler’s nine symphonies, the Fourth fits nicely with Yannick Nézet-Séguin’s somewhat idiosyncratic style.
A double bill (with a choral intermezzo) that just finished four nights’ run at the Manhattan School of Music is a delight, musically whimsical and reminiscent, wittily and colorfully staged.
Monday November 14th’s performance of Karlheinz Stockhausen’s Freitag aus Licht by the contemporary music ensemble Le Balcon began in complete chaos.
For those who relish 17th and 18th century vocal music, the annual visits to the Morgan Library by the singers and instrumentalists of the Boston Early Music Festival invariably guarantee delight
As the focal point of the The Far Country, Eric Yang anchors the production with a cool steadiness that only occasionally betrays a sense of urgency beneath his patient countenance.
Step aside, Texas: “Everything is bigger at Aida” is the motto of the Met’s second attempt at retiring Sonja Frisell’s colossal production.
Alma Deutscher’s quest for beautiful music permeates the score of her Cinderella from the hushed opening of the Overture.
Show business fables often involve an ambitious, if naïve, ingenue (male or female) desperate for fame. This young wannabe finds fame and fortune: but it comes at a cost.
Soprano Lydia Grindatto confirmed the fine impression she had made at Giargiari vocal competition with a charismatic, thoroughly inhabited performance that showed careful preparation in every aspect.
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
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