Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
By giving Orfeo ed Euridice a happy ending, Gluck ruined a wonderful score.
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
Chris’s Cache celebrates Ewa Podles‘s long connection with Handel by featuring her in three complete, decidedly un-HIP operas spanning over twenty years
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
This month, both the Paris Opéra and the Opéra-Comique are mounting seminal works about unhinged anti-heroines who meet their downfall after falling head-over-heels for an unavailable, deeply unattainable man – Salome, in the case of the Opéra; and Armide, in the case of the Opéra-Comique.
The always elegant Véronique Gens has recently returned often to her earliest roots in the French baroque.
While isolated opera-lovers intently navigate the deluge of streaming videos being made available, I’ve been listening rather than viewing.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
“Trove Thursday” presents for the third annual installment of “Handel for my Birthday” a wickedly ideal Felicity Palmer dominating Agrippina.
“Trove Thursday” offers Offenbach’s irreverent La Belle Hélène featuring the beauteous Véronique Gens.
Armide with a superbly grand Francophone heroine in Karina Gauvin and conducted by the always excellent Ivor Bolton.
Scheming Anne-Sofie von Otter offs her brother and sons before the opera even begins? You bet!
This week’s “Trove Thursday” offers Benjamin Britten’s Death in Venice featuring Anthony Rolfe Johnson.
“Trove Thursday” presents Altre Stelle, a fascinating performance piece which includes superb renditions of excerpts from operas by Berlioz, Cherubini, Gluck and Rameau.
A simply gorgeous performance of Gluck’s Orphée et Euridice starring Juan Diego Flórez.
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
Those who enjoyed (at least aurally) the Met’s recent La Donna del Lago may be craving more of the master from Pesaro, so 2015’s final “Trove Thursday” presents Torvaldo e Dorliska.
William Christie’s Les Arts Florissants made a much-anticipated appearance at Lincoln Center’s White Light Festival Saturday performing Theodora.
Gluck’s Iphigénie en Aulide (1774), the occasion of his Paris debut, gets far less respect than her sequel, Iphigénie en Tauride.
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.
You can see the logic of it: The Juilliard School wants to show off its opera program, the Ellen and James S. Marcus Institute for Vocal Arts, which is (on the evidence) brim-full of talent.
For all his historical importance Christoph Willibald Gluck remains one of the least known and performed of the great opera composers.
Almost exactly one hundred years ago on March 18, 1912, the Metropolitan Opera gave its final performance to date of Armide.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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