Les Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
Greek National Opera’s Medea in the ancient theater at Epidaurus is an intermittently rewarding exercise in nostalgia.
After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
Supported by an ingenious production and strong performances, Antonia Bembo’s Ercole Amante makes a successful Paris Opera debut.
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Marina Rebeka comes tantalizingly close to triumph in Cherubini’s Médée at Théâtre des Champs Elysées.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
Vincent Lombardo pays poetic tribute to the 60-year-long career of Robert Wilson.
Seeing Sondra Radvanovsky as Medea at Lyric Opera of Chicago sprawled across the floor, soaked in her children’s blood, is proof that we’re witnessing an utterly haunting singer-actor.
Today’s Grand Tier Grab Bag features Chiara Isotton and Joyce El-Khoury as two murderous mommies in the final scene of Cherubini‘s Medea (and Medée)
Mexican soprano Gilda Cruz-Romo died on 28 June at the age of 85 and Chris’s Cache remembers her with live recordings of a frequent role and a rather rare one: a last-minute Met Tosca plus perhaps her only stab at the Cherubini Medea.
Carmen in Brussels is dramatically vibrant, if vocally stretched
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
The return of Cherubini‘s Medée to the Opéra Comique may be a homecoming, but Nigel Wilkinson almost went home at intermission.
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.
What can you say, other than that everything was fab?
Marc-Antoine Charpentier and Thomas Corneille’s Médée is a monument of the 17th century French baroque lyric tragedy.
Two short theatrical works and one sacred piece from the beguiling oeuvre of the guy who didn’t write Louise
To get right to the point, the performance did not come together despite some good elements and was a major missed opportunity.
Chris’s Cache offers up a quintet of intriguing “forgotten” Leonora-Azucena pairings from the 1970s.
The wicked poisoner showed herself in fine form, full of purple passion and lusty music-making that would gladden the heart of any bel canto enthusiast or opera lover in general.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore. Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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