Dan Johnson on the unique voice of Hildegard composer Sarah Kirkland Snider — and why some music could only ever be written by a woman.
Pénélope at the Bayerische Staatsoper’s summer festival spotlights the crossroads between the nostalgic and the progressive.
On this day in 1922 the Metropolitan Opera presented the company debut of Catalani’s Loreley.
Emily D’Angelo, in a moment of subversion, sang the entire program wearing casual trousers, a vest, and chunky combat boots, her cropped hair slightly mussed, and wearing only light make-up.
“Trove Thursday” features its two favorite baritones in a pair of comforting settings of the Requiem.
The CD explosion coincided with an enormous increase in interest in HIP (historically informed performance) so now there were lots of commercial recordings of the sort of operas I had turned to pirates to find.
This week’s gem from the Mike Richter collection is all the more precious for its rarity: a performance of Fauré’s Pénélope starring ravishing Régine Crespin.
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.
We all know and love Fauré, but how many of us can say we’ve seen his opera Pénélope live and in person? As of last night, I number myself among the few.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.