I attended the Sunday, May 13, performance with bittersweet anticipation.
Mozart was barely sixteen when he wrote Lucio Silla to open the Carnival in Milan in 1772.
Heartbeat is, after all, a company that loves to tinker.
Next week the Italian soprano Mariella Devia celebrates her 70th birthday so “Trove Thursday” salutes her with one of her earliest New York successes: Delibes’s Lakmé
Munich’s Bayerische Staatsoper’s victory lap at Carnegie Hall concluded Thursday night with a sumptuous Der Rosenkavalier spectacularly conducted by Kirill Petrenko
Arabella with Wolfgang Sawallisch conducting a prime-time 1980s Munich cast.
“Trove Thursday” provides a live broadcast of Mozart’s rarely performed cantata Davide Penitente by Les Arts Florissants conducted by William Christie.
“Trove Thursday” pays tribute to the great German bass Kurt Moll
“If you’ve overdosed on Der Rosenkavalier in the past week, let’s go back a few years to Richard Strauss’ first operatic hit: Salome.
Friday night Music Director James Conlon sold Die Entfürhung aus dem Serial to a tony crowd of Angelenos.
Jonny spielt auf, the second opera by 26-year-old composer Ernest K?enek, was such a huge success after its 1927 Leipzig premiere that in the following season it was performed 491 times in Germany alone.
The no-star, slapstick revival of John Dexter’s 37-year-old production of Mozart’s Die Entführung aus dem Serail that opened Friday night proved James Levine’s tenure as Music Director of the Met will end in two weeks with neither a whimper nor a bang.
Othello in the Seraglio is the rather unfortunate title bestowed by the ensemble Dünya on its “coffeehouse opera,” ossia The Tragedy of Sümbül the Black Eunuch.
Without fail, all nine finalists had nice clear ringing voices. Whether they develop into great artists is another question.
La Cieca thinks she knows who the murderer is.
Poor Paisiello. Out of the nearly 100 operas written by this industrious composer just one was generally regarded as a masterpiece.
A problem with scheduling an opera-intensive trip is that you don’t always hear and see the shows in optimum order.
Cecilia Bartoli, the revered, ebullient, and unique mezzo-soprano, does not like to fly in airplanes. Yet she managed to journey to St. Petersburg, Russia.
“With radiant looks, we shall depart this world,” sing Konstanze and Belmonte near the end of Mozart’s exotic yet charming opera Singspiel Die Entführung aus dem Serail.
Some ideas are so absurd that the only way to describe them is to simply use the liner notes.
As someone who thinks Verdi is the greatest composer who ever lived and who feels pretty meh about Mozart, I expected to love the Verdi and be bored by the Mozart. I wasn’t far wrong.
Each year, Leon Botstein leads the American Symphony Orchestra in a concert opera or two.
Die Entführung aus dem Serail has been a bit of an unruly child recently, with productions by Neuenfels and Bieito dividing audiences and inspiring critics like Heather MacDonald to lengthy manifestos.
Handel’s Orlando is one of three operas Handel based on episodes from Ariosto’s best-selling sixteenth-century epic, Orlando Furioso. The story was, in 1733, well known throughout the Mediterranean world, and everyone set it to music—Vivaldi’s and Haydn’s settings have enjoyed recent revivals, and the libretto Handel set had originally been devised for Domenico Scarlatti. Intricate…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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