James Gaffigan, the incoming Music Director of Houston Grand Opera, strikes a balance between New World precision and Old World flair in repertoire, staging, and wine
This showcase concert gave notice that countertenor Hugh Cutting is among the most promising artists of his generation.
Davóne Tines has sung with Early Music groups and avant-garde ones, and he has a taste for projects that cross artistic boundaries, which suits an innate showmanship.
On this past, rainy Thursday, the Orchestra of St. Luke’s delivered a really rather extraordinary performance of the St. Matthew Passion. To me, this evening was a fascinating exploration of work.
Los Angeles Opera’s St. Matthew Passion was by equal parts challenging and hypnotic to watch.
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.
Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.
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.
Scanning this summer’s Mostly Mozart schedule one wondered if New York really needed another Don Giovanni right now? And one with a non-starry cast where the best-known name was the Commendatore, Kristinn Sigmundsson?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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