Following classic recordings documenting the work of Karl Böhm and Herbert von Karajan. Orfeo’s 150 Years Wiener Staatsoper box moves on to new releases that are seeing their first incarnation on an officially available disc.
Whitney George’s music falls pleasingly upon the ear and is wittily scored for a small ensemble conducted by herself.
“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.
“Who are you? Who do you want to be?” The search for one’s identity is explored in American composer Jake Heggie and librettist Gene Scheer’s brand new opera If I Were You.
“Who knows what evil lurks in the hearts of men?” went the introduction to the 1940s radio program The Shadow, an apt description for the San Francisco Opera’s production of Rusalka.
“Tame” seemed to be the appropriate adjective to describe San Francisco Opera’s Carmen.
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
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.
When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.
Use bodily force and get your friends to one of the next five performances of the Met’s new production of Adriana Lecouvreur. It is everything!
L’Arlesiana in a vibrant live performance from a dozen years ago with Giuseppe Filianoti, Latonia Moore and Marianne Cornetti.
Like most directors of this opera this century, David Alden is keen to outline the helplessness of women in the face of 19th century patriarchy.
“Berlioz Takes a Trip” proclaimed the free psychedelic buttons available at Carnegie Hall Monday referring to Symphonie Fantastique,the evening’s surefire crowd-pleaser.
Sunday, August 26, marked the inaugural performance for the newly-created The Claude Heater Foundation with a concert performance of Wagner’s Tristan und Isolde in the Herbst Theatre.
Last weekend marked the opening night for West Edge Opera: Debussy’s Pelléas et Mélisande.
Stefan Herheim productions may be many things, but they’re always theatrical.
“Trove Thursday” offers Così fan tutte with Pilar Lorengar, Josephine Veasey, Lucia Popp, Luigi Alva and Kieth Engen with Georg Solti conducting.
Nico Muhly has set himself the task of presenting Winston Graham’s elusive heroine Marnie on the operatic stage.
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.
Opera Vlaanderen opened its 2017-18 season with a rare staging of Korngold’s Das Wunder der Heliane.
In Schikaneder’s patriarchal cosmology, darkness is the province of emotional women—not just the erratic fury of the Queen of the Night, but the pathetic supplications of Pamina as well.
Now it’s time to grab Albert Einstein for a lengthy swim.
There was a moment during Natalie Dessay’s performance of Schubert’s “Gretchen am Spinnrade” when the singer summoned the ghost of her former self.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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