Back to Rameau again this week with Samson at the Opéra Comique, my third Rameau production in as little as three months, after Les Fêtes d’Hébé in the same house, and Castor et Pollux at the Palais Garnier.
Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars‘s new production of Rameau‘s Castor et Pollux in Paris.
What can you say, other than that everything was fab?
I suspect Carolina Uccelli was tough.
To bring a well-known story to the stage, many methods are available.
Off-and-on since last fall my PPP (Personal Pandemic Project) has been assembling a chronology of the American Opera Society. For 19 years beginning in 1951 it presented a remarkable series of concert performances of works unperformed by either the Met or New York City Opera.
Saturday marks the centenary of Julius Rudel’s birth which Trove Thursday celebrates with Le Coq d’or, Faust and Ariodante, a triple-bill showcasing his impressive versatility, featuring Beverly Sills and Norman Treigle, two of the most important artists he nurtured during his leadership of the New York City Opera.
For the fourth annual edition of “Handel for my birthday” Trove Thursday serves up three heaping portions of “old-fashioned oratorio.”
Renée Fleming presented a satisfyingly eclectic and quietly daring program of songs and arias, an interesting timestamp on a career that, despite its crepuscular vibe, seems as active as ever.
Beauteous Trinidadian soprano Jeanine De Bique appeared Sunday afternoon with the visiting Budapest Festival Orchestra under Ivan Fischer.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
Celebrating its third anniversary and next week’s Met opening, “Trove Thursday” offers a sumptuous banquet of the third and final chapter of divas in the “wrong language.”
This week’s “Trove Thursday” offers Benjamin Britten’s Death in Venice featuring Anthony Rolfe Johnson.
We must be doubly grateful that The English Concert’s recent Theodora was so quickly followed by the American Classical Orchestra’s fine Samson on Tuesday evening at Alice Tully Hall.
Joined by the Choir of Trinity Wall Street, The English Concert concluded the US leg of its current tour at Carnegie Hall Sunday with a complete performance of the darkly moving Theodora, Handel’s penultimate oratorio.
For decades thousands and thousands have attended Handel’s Messiah (usually around Christmas or more appropriately near Easter) making it easily one of the most widely known works of classical music.
Giulio Cesare at the Met proved an evening that added up to much more than the sum of its uneven parts.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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