“Trove Thursday” presents Purcell’s remarkably concise Dido and Aeneas in a pair of fascinatingly different interpretations.
“Trove Thursday” turns to a quintet of baritone/bass voices: Matthias Goerne, Simon Keenlyside, Georg Nigl, Thomas Quasthoff and René Pape performing works by Pfitzner, Sibelius, Adams, Martin and Schubert.
“Die Zauberflöte is an opera!” “No, it’s the first musical comedy!”
Tannhäuser pales beside the other great Wagnerian operas in the degree to which it has innovated the Regisseur’s vocabulary for set design and dramaturgy.
Lise Davidsen, the young Norwegian soprano who won the Operalia competition in 2015, makes her debut as a recording artist with the Decca label in a new recital of Wagner and Strauss arias and orchestral songs.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
“Trove Thursday” leaps to the end of the cycle with a slightly abridged Götterdämmerung featuring Amy Shuard as Brünnhilde.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
No other singer of Die Amme approaches the towering standard set by the German mezzo Tanja Ariane Baumgartner.
I count myself as privileged to have witnessed Götterdämmerungat the Royal Opera House during this season’s revival of Keith Warner’s Ring.
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
I clearly remember the day I first heard the voice of Cesare Siepi.
A heady audience paid top price to pack Carnegie Hall Thursday for just 80 minutes of unstaged Wagner.
Christine Goerke‘s puzzling high register has become an increasingly troubling aspect of her singing. One just never knew what was going to come out from one moment to the next.
On Saturday Juilliard 415 welcomed the sterling 10-member Belgian group Vox Luminis for a striking program of “Handel in Rome.”
The Met’s magnificent revival which opened on Monday night with a superb cast under the mesmerizing leadership of Yannick Nézet-Séguin nearly converted me into a devoted Parsifal disciple.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
Awaiting the return of Parsifal to the Met, “Trove Thursday” hops to the other end of Wagner’s oeuvre with a recent Rienzi der letzte der Tribunen.
A wonderfully committed Ailyn Pérez and Gerald Finley at Saturday afternoon’s revival abetted by Emmanuel Villaume’s passionate conducting converted me to a Thaïs believer.
Another five-Thursday month invites “Trove Thursday” to offer a combo of shorter works.
The tendency to rank—to create subjective lists of best or greatest, or to organize things in ascending or descending order—is a human compulsion.
The 55th New York Film Festival presented the world premiere of Susan Froemke’s marvelous new documentary The Opera House in a special one-time-only screening at the Metropolitan Opera.
All the daring and imagination of La Divina’s live work, particularly in the early years, is revealed in Warner Classics’ Maria Callas: The Live Recordings.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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