As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
George Frideric Handel (born 341 years ago on Monday) composed over 40 operas including many masterpieces, but his Giulio Cesare is the one that everyone knows best.
Christopher Corwin on three stylish sopranos delighting audiences live in New York and on recording in a trio of new releases.
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
I felt that the whole performance at West Edge Opera on Sunday was greater the sum of its parts, particularly due to the dedication of the whole cast and crew amidst all adversities.
I wonder why many New Yorkers have been led to believe that the only Handel conductor in the world is Harry Bicket.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
When was the last time the Metropolitan Opera mounted a new production that was musically outstanding yet the direction and/or design mostly sucked?
Pauline Tinsley, who died May 11, made few commercial recordings; Trove Thursday offers the thrilling English soprano in excerpts over nearly two decades from nine works ranging from Handel to Richard Strauss.
Following last week’s Golden Cockerel, Trove Thursday offers another classic Russian opera not in Russian: Borodin’s Fürst Igor with Nelly Miricioiu, Marjana Lipovsek, Bodo Brinkmann, Evgeny Nesterenko, Robert Schunk and Sergei Koptchak conducted by Mark Ermler.
Mascagni’s Cavalleria Rusticana has always been a particular favorite, although I’ve only seen it staged once (and that by an amateur company the details of which I share spare you all, save to note that dinner was served during the performance.)
While isolated opera-lovers intently navigate the deluge of streaming videos being made available, I’ve been listening rather than viewing.
By an astounding coincidence, on Monday night Handel’s third and fourth extant operas were being performed simultaneously across the street from each other at Lincoln Center.
Saturday’s performance of Così fan tutte demonstrated that even the cool, acerbic wit of Mozart’s most controversial comedy can warm our hearts in these icy winter months.
Handel’s biting Agrippina finally arrived at the Metropolitan Opera Thursday evening 310 years after its Venetian premiere.
Otto Nicolai’s Il Templario with Juan Diego Flórez, Clémentine Margaine and Luca Salsi.
“Trove Thursday” presents for the third annual installment of “Handel for my Birthday” a wickedly ideal Felicity Palmer dominating Agrippina.
A brace of Handel operas at the George Enescu International Festival.
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
>Verdi’s marvelous yet neglected Luisa Miller finally returns to the Met later this month after an absence of a dozen years so “Trove Thursday” provides a preview.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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