Mozart and Donizetti could humanize characters in a farce—Mercadante in I due FIgaro cannot get a handle on them.
If Darius Milhaud took a risk in adapting La Mère Coupable as an opera, it wasn’t the quirky, atonal style he used for his score.
An extraordinarily rich variety of opera happens locally, under the umbrella of New York Opera Fest.
Louis XVI, Marie-Antoinette, and a slew of their members of court are hanging out in the afterlife…
Poor Paisiello. Out of the nearly 100 operas written by this industrious composer just one was generally regarded as a masterpiece.
John Corigliano‘s first and second symphonies won the Grawemeyer and the Pulitzer, respectively; the premiere of his Third Symphony wasn’t even reviewed by the Times. His score for The Red Violin won an Oscar™; his score for Edge of Darkness ended up on the cutting room floor. Is there an American composer at once more…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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