San Francisco goes baroque with performances of Handel‘s Alcina, Tolomeo, and Rinaldo.
Christopher Corwin picks the flowers of a baroque May in New York City with reviews of concerts starring Lauren Snouffer, Key’mon Murrah, and the Oratorio Society of New York.
Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
Christopher Corwin on three stylish sopranos delighting audiences live in New York and on recording in a trio of new releases.
This week, Chris’s Cache highlights Bernarda Fink and Inga Kalna in an opera by Johann Gottlieb Naumann
Apologies in advance to Key’mon Murrah, whose rather extraordinary Marian Anderson award recital with pianist Brian Zeger at the Kennedy Center on December 17 demands some general musing.
Judith Malafronte sits down with bass David Leigh who debuts as Rocco in Washington National Opera’s production of Fidelio next week
Chris’s Cache celebrates Ewa Podles‘s long connection with Handel by featuring her in three complete, decidedly un-HIP operas spanning over twenty years
We may all be armchair Handelians, but some of us are more used to it than others.
In Handel’s Rodelinda, a usurped monarch, believed dead, returns to avenge his deposition and reclaim the woman he loves.
Rather than focusing on a narrative, Unholy Wars explores a series of timeless yet current themes: war, destruction, alienation, and what it means to be perceived as outsider—particularly from the Middle East—in the context of a violent world.
This showcase concert gave notice that countertenor Hugh Cutting is among the most promising artists of his generation.
On Saturday at Alice Tully Hall, Julliard 415, the school’s top-flight period-instrument ensemble, was joined by students from the Marcus Institute for Vocal Arts and Juilliard Drama for a rare semi-staging of King Arthur.
On this day in 2017, Clémentine Margaine made her Metropolitan Opera debut as Carmen.
While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.
A recent discussion here about Gianna Rolandi prompts Trove Thursday to present the American soprano in a rare trouser role in an even rarer opera, Cimarosa’s Gli Orazi e I Curiazi paired with Anna Caterina Antonacci.
Although I usually pretend that I don’t have the diva-worship gene, sharp-eyed readers of parterre box will know that since I joined the site in 2011 as “DeCaffarrelli” I have often swooned as an Ann Hallenberg-fanboi.
By an astounding coincidence, on Monday night Handel’s third and fourth extant operas were being performed simultaneously across the street from each other at Lincoln Center.
Each year, when I take in a performance of Messiah by the Philadelphia Orchestra as part of my own holiday tradition, I hope it will spark some new and exciting feeling inside of me, or offer a new way of looking at the musical drama as a whole.
Christine Goerke‘s distracted, tentative Isolde turned out to be the least potent feature of what was an otherwise exciting and effective second act of Tristan.
In recent weeks local and visiting groups performed refreshing rarities by Zelenka, Domenico Scarlatti and Telemann so engagingly that one didn’t miss the old standbys at all.
“Trove Thursday” presents two live versions of Sunday in the Park with George.
The Paris Opera continued their 350th anniversary celebration January 26 with a brand new production of Alessandro Scarlatti’s 1707 oratorio Il Primo Omicidio ovvero Caino.
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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