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.”
Salieri’s La Cifra (“The Cipher”) played all over Europe for 20 years, in several translations (German, Spanish). Then, like many a worthy work, it was forgotten.
This year’s Salzburg Festival opens Saturday with a new production of Mozart’s Die Zauberflöte, an opera often performed elsewhere in translation, so “Trove Thursday” offers two for the price (!) of one.
The dream cast put together for this second revival of Kasper Holten’s Don Giovanni production shines at the Royal Opera House.
A very particular tension—between angry political resistance and gloriously sex-positive, buoyantly confidant celebration of queerness—fuels the immense energy of Taylor Mac’s A 24-Hour Decade History of Popular Music.
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
Heartbeat is, after all, a company that loves to tinker.
I clearly remember the day I first heard the voice of Cesare Siepi.
At Palermo’s Teatro Massimo, Zerline, the heroine of Auber’s once beloved Fra Diavolo , undresses down to frilly French skivvies.
The third installment of my 50th anniversary tribute to Edita Gruberova was impossible to narrow down to one selection.
“Trove Thursday” presents Falla’s La Vida Breve in a live concert version with Victoria de los Angeles, one of Spain’s greatest singers, as Salud.
“Trove Thursday” offers Così fan tutte with Pilar Lorengar, Josephine Veasey, Lucia Popp, Luigi Alva and Kieth Engen with Georg Solti conducting.
As a diehard completist I felt guilty as the Met’s scattered, campy revival of Semiramide lumbered toward its abrupt conclusion after nearly four hours.
La Cieca regrets to say it’s time to step back from the gratuitous display of bare skin in opera.
The Eloquence label of Australia, the down under-arm of Decca and now by extension Deutsche Grammophon, seems to specialize in the re-release of “Auld Lang Syne” treats.
Usually the longer I know a work the more I look forward to rediscovering it, but that’s just not the case with the Verdi Requiem.
“Trove Thursday” pays tribute to Dmitri Hrovostovsky with a broadcast of his final new role, Rubinstein’s The Demon.
At yesterday’s recital at the Morgan Library, Leah Crocetto sang as her encore Kern and Hammerstein’s “Can’t Help Lovin’ Dat Man.”
Tack on a little symphonic Beethoven and some particularly zany hosting patter from Bernadette Peters, and you start to lose focus, or at least some sense of, um, what matters mostly.
This week’s “Trove Thursday” offers Benjamin Britten’s Death in Venice featuring Anthony Rolfe Johnson.
Two productions at the Aix-en-Provence festival shared one look.
It is always a pleasure to hear a great orchestra take on a major score that might sound half-muffled emerging from the pit of an opera house.
“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.
>What does a great opera production do, and what does a bad production fail to do?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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