In the beginning In the beginning

In Jacopo Peri’s seminal Euridice, the Newberry Consort and Haymarket Opera made a compelling case for putting you in the room where it happened.

Change my mind about how <em>Orfeo</em> should end Change my mind about how <em>Orfeo</em> should end

By giving Orfeo ed Euridice a happy ending, Gluck ruined a wonderful score.

The bodies keep score The bodies keep score

Music for New Bodies at Lincoln Center’s Running AMOC* Festival proves Matthew Aucoin really is everything he’s made out to be

Nosedive Nosedive

It’s not so much that I hated the Met Opera’s Grounded. I’m just not convinced that it should have been an opera.

Love wins Love wins

Opera has always been Orpheus-obsessed.

The artist is present The artist is present

And is this ‘Orpheus’ in the room with us right now?

Flores para los muertos Flores para los muertos

Despite this being the first full-length opera for Gabriela Lena Frank, there’s no lack of experience across the creative team which, along with favorable reviews for the production, contributed to high levels of anticipation.

You’re better off without me, mein Hair You’re better off without me, mein Hair

I hate to say I nearly cringe at the thought of Gioachino Rossini’s Il Barbiere di Siviglia.

The prodigal The prodigal

Philippe Jaroussky mentioned introducing his encores that he has not appeared in New York in 12 years.

Endearing gifts Endearing gifts

Since my previous CD round-up review the onslaught of solo recital disks of 18th century (and sometimes also 17th) vocal music has continued unabated.

In my very own private hell In my very own private hell

No, we don’t really need another “Orpheus” opera. Or, rather, we don’t need this one.

Straight to hell Straight to hell

November in New York hosts two premieres dedicated to mythology’s greatest musician, which prompts Trove Thursday to present a vintage Monteverdi L’Orfeo with Judith Raskin and Gérard Souzay conducted by Leopold Stokowski (!) and a recent HIP London broadcast of Luigi Rossi’s L’Orfeo.

Uncloistered Uncloistered

Let’s all cast our minds back to March of 2020. Or, better, let’s not.

Raising genius Raising genius

A special program note for Saturday night’s performance of Matthew Aucoin’s new opera Eurydice pointed to a rare convergence of three MacArthur Grant fellows in its creation and staging.

Something’s comin’ Something’s comin’

This program honored the singer, composer and theorist Giulio Caccini, “Giulio da Romano,” on the 400th anniversary of his death.

Pretty little lyres Pretty little lyres

While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.