The San Francisco Opera, perhaps incidentally, continued their exploration of operas based on literary works by mounting the revival of Giacomo Puccini’s first success, Manon Lescaut.
Sunday’s Richard Tucker Gala at Carnegie Hall was unusually satisfying despite a less than usually superstarry line-up.
A sense of celebration was definitely in the air last Thursday at the Vienna State Opera.
They say you never forget your first.
Opera Philadelphia’s Love of Three Oranges is never less than extravagantly entertaining theater.
Following classic recordings documenting the work of Karl Böhm and Herbert von Karajan. Orfeo’s 150 Years Wiener Staatsoper box moves on to new releases that are seeing their first incarnation on an officially available disc.
The aphorisms projected before each act of Das Wunder der Heliane suggested the work concerns the transformative power of love—but does it really?
Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
Although stripped down, this comedy of manners was far from boring due to well-choreographed movements and actions of the characters.
Lise Davidsen, the young Norwegian soprano who won the Operalia competition in 2015, makes her debut as a recording artist with the Decca label in a new recital of Wagner and Strauss arias and orchestral songs.
“Trove Thursday” offers Die Frau ohne Schatten conducted by Georg Solti and also featuring Regina Resnik, Donald McIntyre and the inevitable James King.
Così fan tutte, Mozart’s final Italian comedy with Lorenzo Da Ponte, is this season’s heaviest lift for Philadelphia’s Academy of Vocal Arts (AVA).
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.
Diana Damrau‘s performance as Violetta was the work of a very ordinary artist, one susceptible to vocal flubs, poor intonation, and an all too banal approach operatic performance.
The New Camerata Opera performs a double bill of John Blow’s Venus and Adonis, sometimes dubbed the first English opera, and Gustav Holst’s Savitri.
Isn’t it nice to know a lot? And a little bit not.
Celebrating its third anniversary and next week’s Met opening, “Trove Thursday” offers a sumptuous banquet of the third and final chapter of divas in the “wrong language.”
Tanglewood may bring the classical music crowd to Lenox, but for opera, it’s all about neighboring Pittsfield, Mass.
The old adage “the third time’s the charm” proved to be the case with me and Daphne, Richard Strauss’s ravishing bukolische Tragödie, when I recently heard it performed by Franz Welser-Möst and the Cleveland Orchestra.
Evan clicked over to the his favorite music critic’s weekly column, “Slings and Arias.”
Munich’s Bayerische Staatsoper’s victory lap at Carnegie Hall concluded Thursday night with a sumptuous Der Rosenkavalier spectacularly conducted by Kirill Petrenko
No 50th anniversary career tribute would be complete without covering Edita Gruberova’s legendary status as the premier Zerbinetta of her long reign in the role!
Ali Baba ou Les Quarantes Voleurs continues straight-tone September with Teresa Stich-Randall as its heroine while Alfredo Kraus scales the heights with another Nadir.
For those who thought opera to be a rare enough commodity that there shouldn’t be duels, Saturday night in the Berkshires offered the odd rebuttal.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.