From one Mister Snow to another, I salute him.
Huw Montague Rendall’s new release Contemplation has been spinning in both my car and home players repeatedly for months now.
With Boston Lyric Opera’s largest opera production of the season already well behind us, the one-off semi-staged gala performance of Aïda held on Sunday at Emerson College’s Colonial Theatre to support the company’s vast education and community engagement apparatus, was a particularly enticing entry on the Boston cultural calendar.
Eastern Long Island remains surprisingly verdant even into the early fall.
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
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.
Concerts at Wolf Trap, mixed bags in more ways than one, provided fleeting glimpses of the old normal as moments of frisson mingled with more familiar monotony.
The flawless, classical singing style of Perry Como. Perry Como?
The success of Porgy and Bess at the Met forced bass-baritone Eric Owens, the newly installed director of vocal studies at the Curtis Institute, to cancel a long-planned afternoon recital at the school on February 16.
Saturday night, Lyric Opera of Chicago gave us a wonderful evening of vocalism in honoring Renée Fleming’s 25th anniversary at Lyric.
The New York Gilbert and Sullivan Players (NYGASP to its friends) is giving Sullivan’s most operatic score a dusting off (or should one say dusting-up?) at the Kaye Playhouse at Hunter College.
The career of our beloved Renée Fleming deserves to continue… by whatever means necessary.
Warmth, humor, and joyful out-and-proud-ness dominate the mood, yet there is considerable darkness in Taylor Mac’s view of both past and present.
In the final installment of this interview, the star discusses the enduring appeal of Carousel.
In the third part of this interview with John Raitt, the singer speaks in great detail how he was cast in his breakthrough role of Billy Bigelow in Carousel.
How did you first grow interested in singing?
Never in my wildest dreams did I imagine I would be having lengthy telephone conversations with John Raitt.
Carousel is receiving a Broadway revival in a simple, cautious production that still manages to pack an emotional wallop.
At yesterday’s recital at the Morgan Library, Leah Crocetto sang as her encore Kern and Hammerstein’s “Can’t Help Lovin’ Dat Man.”
I fucking love Renée Fleming.
Kurt Weill and Maxwell Anderson’s 1949 musicalization of Alan Paton’s Cry, the Beloved Country has found a tentative home on the opera stage.
Once upon a time, a man and a woman met. He could sing, she could sing. They fell in love, got married, and became a power couple to rival Billary.
Who is the most happy fella, he who perfectly fits societal definitions of fitness and attractiveness, or he who attains self-acceptance in spite of whatever personal idiosyncrasies he may confront?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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