Aryeh Nussbaum Cohen shows that he’s at the top of a crowded pack of countertenors in two recent New York performances with Philharmonia Baroque.
Bergamo hosts an annual Donizetti festival, Salzburg presents a Mozart-woche every January, and of course there is Bayreuth for Wagner. But Handel gets two festivals every spring, and this year I was finally able to attend one of them.
His shaved head in striking contrast to his dark beard and glinting eyes, the implacable Tartar conqueror glowers at us from the CD cover, while the uncropped photo of countertenor Xavier Sabata (above) is even more disturbing, featuring his raised fist and forearm tightly wrapped in a leather belt.
For decades thousands and thousands have attended Handel’s Messiah (usually around Christmas or more appropriately near Easter) making it easily one of the most widely known works of classical music.
The day after opening the 2009-10 season with Hugo Weisgall’s Esther, New York City opera presented one of the most beloved operas in the entire repertoire, Mozart’s Don Giovanni, in a new production by Christopher Alden.
Doubling down on its artistic mission, New York City Opera begins a tenuous season with a turgid Bible drama.
Cher public, you may be interested or alarmed (as the case may be) to glean a little more information about the namesake of the David H. Koch Theater at Lincoln Center, home to, among others, the New York City Opera. Mr. Koch is chairman of the board of the Americans for Prosperity Foundation, which finances…
La Cieca received this letter yesterday. If you have reviews, opinion pieces, appreciations, or (as in this case) a Letter to the Doyenne, please email to [email protected]. Saving New York City Opera?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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