American Bach led a stirring rendition of Handel’s Ode for St. Cecilia’s Day, full of big questions and even bigger musical highlights.
San Francisco goes baroque with performances of Handel‘s Alcina, Tolomeo, and Rinaldo.
A sublime Reginald Mobley and the Philharmonia Baroque Orchestra are a balm for troubled times in a program of baroque selections and spirituals.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
A stark, sweltering performance of Lady Macbeth of Mtsensk shocks the Komische Oper Berlin.
New York audiences got a taste of Ben Bliss in Mozart this fall, but this week Grand Tier Grab Bag offers snippets of the tenor trying his hand at Handel earlier this year.
The Jupiter Ensemble with Lea Desandre and Anthony Roth Costanzo offers sleek and sexy HIP inaugurates the Frick Collection’s new Stephen A. Schwartzman Auditorium
Even if our monolingual American tourists can be the source of vexation for many a Parisian, our singers gave much for the city’s operagoers to admire this month in stylish productions of Semele at the Théâtre des Champs-Élysées and I Puritani at the Opéra Bastille.
I watched the finals for this year’s George and Nora London Foundation competition and would like to offer, if not a traditional review, a brief roundup of who I found exceptionally watchable and whom I think you, dear parterre boxers, should watch out for in the next few years.
Franz Liszt attempted practically every musical genre in vogue in the nineteenth century, although it is undeniable that a handful of the genres he only sampled (like string quartet) or adapted to his own temperament in original ways (like the symphony).
A stack of noteworthy recent baroque vocal CDs on my desk has been staring at me for weeks, so I’m tackling them on Handel’s birthday before the Met roars back into action beginning this weekend.
These are my findings and opinions (and I welcome rebuttals)!
The lovely English soprano Valerie Masterson turns 84 today, prompting Trove Thursday to present her in a pair of her specialties.
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.
A particularly heartbreaking aspect of the pandemic shutdown has, of course, been helplessly watching rising artists have their careers plunged into indefinite silence. But for a few bold souls who are willing to try new things, the moment has also opened doors.
Dame Janet Baker turns 87 tomorrow and Trove Thursday celebrates with Handel’s rare Admeto conducted by the great Sir Anthony Lewis in which Baker’s bold Alceste vies with Sheila Armstrong’s sparkling Antigona for her deluded husband Admeto’s affections.
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.
Pretty is its own reward.
Otto Nicolai’s Il Templario with Juan Diego Flórez, Clémentine Margaine and Luca Salsi.
Over the past week New York City was blessed by two appealing 17th century presentations: John Blow’s Venus and Adonis from Opera Lafayette and La Storia di Orfeo courtesy of the Boston Early Music Festival.
“Trove Thursday” presents for the third annual installment of “Handel for my Birthday” a wickedly ideal Felicity Palmer dominating Agrippina.
As we also saw last year, Festival O19 ended on a sweetly quiet note, movingly connecting Opera Philadelphia with the larger city and our musical future.
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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