The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
Nina Stemme’s program guided her audience through a period of musical history that explores themes of love and mortality with texts that traverse emotional extremes.
Welcome, beloveds, to the Jessye Norman Memorial Museum. I’ll be the docent for your tour today.
Christian Gerhaher delivers a Kindertotenlieder of such conciliatory tact that it erases all others.
Brigitte Fassbaender‘s sound is piquant and, I’d hazard to guess, instantly recognizable to anyone familiar with her work.
Elina Garanca was radiantly present at Carnegie Hall Friday night performing a ravishingly somber Rückert-Lieder with Yannick Nézet-Séguin and the MET Orchestra.
Hearing Lucas Meachem perform Kindertotenlieder in the crypt of Harlem’s Church of the Intercession was a heart-warming, and ultimately uplifting experience.
A poster outside Carnegie Hall proclaimed “Mahler Well Met” and to some degree it proved to be true.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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