Offenbach‘s Robinson Crusoé is salvaged from obscurity.
Les Brigands at the Paris Opera is an expensive joke that never lands
A double bill of rare Bizet works in Paris is not something any of us needs to do more than once
Félix Fourdrain‘s “féerie” Les Contes de Perrault by the Frivolités Parisiennes is as fun for adults as it is for children
Operettas always seem to be on the menu for New Year’s Eve, so Chris’s Cache joins in with a broadcast of Offenbach’s delicious La Grande-duchesse de Gérolstein featuring Stephanie Blythe in the title role.
Opera at the Kennedy Center has been in hibernation this winter.
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
To celebrate Valerie Masterson‘s turning 85 tomorrow, Trove Thursday offers a second annual birthday salute to the English soprano.
As New Yorkers swelter in the Fahrenheit 90s. Trove Thursday escapes to wintry Vienna 1920s for Richard Strauss’s Intermezzo (in English) sumptuously conducted by Julius Rudel and starring the incomparable Elisabeth Söderström as the delicious, exasperating wife of Alan Titus.
Teresa Stratas turned 83 yesterday and Trove Thursday features one of the recent past’s most interesting yet frustrating artists in two rare broadcasts.
Trove Thursday offers Offenbach’s delightful La Grande-duchesse de Gérolstein featuring Jennie Tourel, Laurel Hurley and Martial Singher, led by Arnold Gamson.
Off-and-on since last fall my PPP (Personal Pandemic Project) has been assembling a chronology of the American Opera Society. For 19 years beginning in 1951 it presented a remarkable series of concert performances of works unperformed by either the Met or New York City Opera.
Otto Nicolai’s Il Templario with Juan Diego Flórez, Clémentine Margaine and Luca Salsi.
When I first heard of this broadcast my thought was to save it to celebrate Jessye Norman‘s 75th birthday in 2020.
Trial by Jury was the operetta chosen by Lamplighters Music Theatre, the San Francisco-based Gilbert & Sullivan company, to close their 66th season.
Trove Thursday wades into the murky musicological waters of Offenbach’s Les Contes d’Hoffmann..
Almost exactly twenty years after her auspicious Metropolitan Opera debut as the Fiakermilli in Arabella and a year following what she has claims was her final appearance on the operatic stage, Natalie Dessay returned Sunday afternoon to Lincoln Center—to sing opera.
The best joke in Offenbach’s delicious Orphée aux Enfers is the opening premise: Orphée and Eurydice are miserably married, due to her utter boredom with his old-fashioned music.
For those of us newly accustomed to watching The Met: Live in HD cinecasts and similar events in our neighborhood theaters, it is easy to forget that opera as cinema was once a very different experience. Ritter Blaubart, one in a series of seven films by Walter Felsenstein recently released on DVD, shows us the…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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