Erin Morley, Lawrence Brownlee, and Malcolm Martineau put on a jolly good show at the 92nd Street Y.
A starry (and potentially annual) Christmas gala lights up Carnegie Hall.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
Mady Mesplé’s voice has, sadly, become an acquired taste.
Some of you may remember the 1987 thriller Someone to Watch Over Me.
As this is “Donizetti Month” here on parterre box, Chris’s Cache offers the recently deceased Paul Plishka and Opera Orchestra of New York with Carol Vaness in Anna Bolena and with Mariella Devia in the rarely heard Adelia.
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
Lisette Oropesa, a product of the Metropolitan Opera Lindemann Young Artist Program, has not been seen much on the stage of the Met in recent seasons.
Both the mise-en-scène and the musical direction amplified the absolute worst tendencies of the Opéra Comique’s Lakmé in the most tasteless and baffling ways.
The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
The Metropolitan Opera National Council Auditions were one of the last events I attended in person in 2020. Now, one year on, the competition has returned, this time in an online format, and this time with an entirely new name: The Metropolitan Opera Eric and Dominique Laffont Competition, after the event’s new sponsors.
For nearly 70 years, New York City was the world capital of concert opera thanks first to the American Opera Society, then to Eve Queler’s Opera Orchestra of New York.
It was hard for me not to get choked up, watching two of AVA’s most promising young graduates having to make this opportunity for themselves, and doing it with such palpable good humor.
One of Mariella Devia‘s earliest New York successes: Delibes’s Lakmé with Nicolai Gedda and Paul Plishka.
We can delight in films that make use of motif to give opera-lovers an extra little jiggle.
Robert Wilson is many things: a visionary (certainly); an iconoclast, artist, director, and designer of sets, lighting, costumes, movement (and furniture). Yet his work is never boring (well, at least not intentionally).
Records will save us.
While Russell Thomas admirably goes toe to toe with Otello (and Otello) in a thoughtful and self-aware way, the assumption feels like a work in progress if not an outright mismatch with his vocal gifts.
Although she didn’t sing that eponymous song by Reynaldo Hahn at Weill Recital Hall Thursday evening, Sabine Devieilhe did offer an “exquisite hour” of early 20th century French songs.
“Trove Thursday” offers due local Lombardi: one with Renata Scotto and José Carreras, the other with Aprile Millo and Carlo Bergonzi.
Philadelphia’s Academy of Vocal Arts, a top-tier advanced training program for singers launching professional careers, always sends off their artists in style.
Next week the Italian soprano Mariella Devia celebrates her 70th birthday so “Trove Thursday” salutes her with one of her earliest New York successes: Delibes’s Lakmé
The Summer of 1983 is when “it” happened.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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