Hilda Harris and Catherine Malfitano in an 1981 broadcast to celebrate the 100th anniversary of Ravel‘s opera
One of the highlights, if not the highlight, of No-Met-February was an all-Ravel evening presented by the Juilliard Orchestra.
My sole live encounter with Seiji Ozawa coincided with his final appearances at the Metropolitan Opera, where he conducted its 2008 revival of Tchaikovsky’s Pikovaya Dama.
Trove Thursday adds two short works—Goyescas and L’enfant et les sortilèges—to Christian’s expansive recent survey of Bernard Haitink’s opera legacy.
As the Netrebko-crowned Macbeth took to the stage at the Met, just a few blocks away, Teatro Grattacielo presented its 25th Anniversary Gala Concert.
One of the main problems with My Undying Love was that it did not appear to know what audience it was pitching to.
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.
On Saturday, a new company called Bare Opera gave its first performance, a double bill of Debussy’s L’Enfant Prodigue and Ravel’s L’enfant et les sortilèges, at the Robert Miller Gallery in Chelsea.
Cocooned in an amiable production of Theo Morrison‘s revised Oscar, David Daniels flew to new heights in the congenial title role.
Is the threnody, the lament over a beloved corpse, the oldest form of song? Surely it is among the oldest; one of the most widespread and stylistically various, millennia before opera was devised.
Simpler can be better, as Pocket Opera of New York demonstrated in the back of the Bechstein Showroom on Wednesday evening for their double bill of Ravel’s L’enfant et les sortilèges and Debussy’s La chute de la maison Usher. When I heard these operas would be presented in English with piano accompaniment, I was initially…
“Parade” is defined simply by the Merriam-Webster Dictionary as “a pompous show.” Fitting enough, then, that the triple bill titled Parade: An Evening of French Music Theatre recorded at the Met on March 16, 2002 consists of Erik Satie’s ballet Parade, Francis Poulenc’s Les Mamelles de Tirésias, and Maurice Ravel’s L’Enfant et les Sortilèges. These…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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