I sort of have a love/hate fascination with countertenors/male falsettists.
As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
Ahead of a special boozy, bawdy Valentine’s Day concert, artistic director of Opera Lafayette Patrick Quigley speaks with soprano Maya Kherani about her journey from MIT to rising American Baroque star.
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
The Comet/Poppea at this summer’s Running AMOC* festival at Lincoln Center is a thrilling, startling, deeply moving experience
The operatic offerings of Boston Early Music Festival — Keiser‘s Octavia and Telemann‘s Pimpinone and Ino — are delectable discoveries
Christopher Corwin on three stylish sopranos delighting audiences live in New York and on recording in a trio of new releases.
IN Series concluded its exploration of the works of Claudio Monteverdi with a production of the composer’s final opera, L’incoronazione di Poppea, performed with the addition of Indian music and dance.
Judith Malafronte sits down with bass David Leigh who debuts as Rocco in Washington National Opera’s production of Fidelio next week
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
A work that skimps on profundity need not be devoid of entertainment value, and Madrid’s charismatic soloists and musicians more than capably deliver on this front.
There was much to love in Andrew Ousley’s Tiergarten: a three-night cabaret revue from Death of Classical and part of Carnegie Hall’s Weimar Festival, performed in the vaulted gothic hall of the Church of St. Mary.
I love recitals.
The newest Italian production of L’incoronazione di Poppea was a splendid example of how a 17th century opera can be performed in the best possible way today
The July-August timeframe in the San Francisco Bay Area is always exciting time in terms of opera.
This week’s Trove Thursday—Kodály’s Háry János in a 1955 RAI broadcast in Italian led by famed Hungarian conductor Ferenc Fricsay—may be a bit brief as C-19 finally arrived last week chez CC.
The great Spanish mezzo soprano Teresa Berganza died on May 13 at the age of 89, so Trove Thursday salutes one of its favorites with a pair of dazzling rare live Mozart performances.
Next Wednesday is the composer’s 337th birthday, so Trove Thursday previews this spring’s most enticing Handel performance with two very different live versions of his delightful Serse,.
November in New York hosts two premieres dedicated to mythology’s greatest musician, which prompts Trove Thursday to present a vintage Monteverdi L’Orfeo with Judith Raskin and Gérard Souzay conducted by Leopold Stokowski (!) and a recent HIP London broadcast of Luigi Rossi’s L’Orfeo.
American soprano Gianna Rolandi died Sunday morning, according to a number of her friends and colleagues. She was 68.
The lovely English soprano Valerie Masterson turns 84 today, prompting Trove Thursday to present her in a pair of her specialties.
Trove Thursday celebrates Christa Ludwig with live excerpts from 1955 through 1982.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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