A Strauss rarity receives a ravishing concert performance at Seattle Opera.
Claus Guth mines urgent and contemporary commentary from Die Liebe der Danae in Munich.
While everyone tries to figure out what on earth Strauss and Hofmannsthal are up to in Die Frau ohne Schatten, now playing at the Met, Chris’s Cache offers a later, simpler, shorter Strauss with three live broadcasts of his “bucolic tragedy” Daphne.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
Richard Strauss’ “Bucolic Tragedy in One Act” Daphne is one of his most beautiful and most frustrating works.
In Richard Strauss’s Arabella, the heroine is consumed with finding the right man—der Richtige—but who is the right Arabella?
Beverly Sills and Renée Fleming perform 30 years apart the same work with the same orchestra in the same venue!
Minutes into “An die Nacht,” the first song Friday night, I realized how much I’d missed being enveloped in that seductive Straussian combination of a soprano (or two or three) rising higher and higher over a surging orchestra.
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.
It is rare to be moved to tears by a lieder recital. It is rarer still to be moved to tears by the third song on a recital program.
Composer/librettist David Hertzberg’s The Rose Elf, which gave its world premiere in the Green-Wood Cemetery Catacombs last weekend, is indeed a marvel of elfin proportions.
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.
Munich’s Bayerische Staatsoper’s victory lap at Carnegie Hall concluded Thursday night with a sumptuous Der Rosenkavalier spectacularly conducted by Kirill Petrenko
Awaiting the return of Parsifal to the Met, “Trove Thursday” hops to the other end of Wagner’s oeuvre with a recent Rienzi der letzte der Tribunen.
Any production of Der Rosenkavalier that can transform the usually excruciating first half of the third act into a hilarious romp already has my vote.
This week, I offer you a classic rendition of Richard Strauss’ tale of the House of Atreus starring Ursula Schröder-Feinen, Astrid Varnay, Leonie Rysanek, Theo Adam, and Hans Hopf under Karl Böhm’s direction.
Sunday afternoon’s all-Richard Strauss concert served as a de facto commemoration of the 25th anniversary of the debut of Renée Fleming, long one of the house’s biggest stars.
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
Richard Strauss’s many one-act operas make excellent concert programs, both for their length (usually under two hours) and the primary place each gives the orchestration, a specialty where Strauss’s brilliance seldom deserted him.
They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub.
The Cleveland Orchestra’s premiere performance of Janacek’s Cunning Little Vixen proved to be both a critical and audience success.
The American dramatic soprano is heard in the final scene of Daphne (R. Strauss) in a performance from Buenos Aires, 1948. Set Svanholm is Apollo; Erich Kleiber conducts. Rose Bampton sings Daphne
La Cieca’s Gal-pal del Golden West, Laura Hope Cruisey, sounds off on Santa Fe, 2007. Can we talk like this? Has Carl Rove turned off the reel-to-reel, before he turned out the lights? Well, since the New York Times seemingly did not cover the Santa Fe Opera Festival 2007, somebody’s got to say what happened…
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.