Supported by an ingenious production and strong performances, Antonia Bembo’s Ercole Amante makes a successful Paris Opera debut.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
Offenbach‘s Robinson Crusoé is salvaged from obscurity.
A double bill of rare Bizet works in Paris is not something any of us needs to do more than once
Back to Rameau again this week with Samson at the Opéra Comique, my third Rameau production in as little as three months, after Les Fêtes d’Hébé in the same house, and Castor et Pollux at the Palais Garnier.
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars‘s new production of Rameau‘s Castor et Pollux in Paris.
What can you say, other than that everything was fab?
I was, to my astonishment, quite bored.
Many live treasures (and some duds) began to take up more and more space—first in my dorm room, then in my first little studio apartment thanks to a group of quite special men, none of whom I ever met face to face.
America hasn’t exactly been vigorous about commemorating the 250th anniversary of the death of Jean-Philippe Rameau.
I avoided visiting any waxworks establishment until On Site Opera’s lively production of Rameau’s one-act Pygmalion summoned me Tuesday evening to Madame Tussauds just off New York City’s Times Square.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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