A pair of Hasse works: the all-male oratorio I Pellegrini al Sepolcro di Nostro Signore, plus the popular serenata Marc’Antonio e Cleopatra.
A broadcast of Weill and Brecht’s pungent Die Dreigroschenoper
Why do we go to the opera? Because the world needs a reminder of the power of forgiveness, particularly in these dark and gloomy times!
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
The late-mid 1730s were transitional years for Handel, to put it nicely.
“Trove Thursday” presents a recording of the rare L’Olimpiade featuring Joan Caplan and Rita Shane in the two leading castrato roles.
That’s what it must have been like in 1726 London when Handel composed Alessandro for perhaps the three most famous (and expensive) singers of the day.
“Hey the line forms, on the right dear / Now that Macheath’s back in town / You’d better lock your doors, and call the law / Because Macheath’s back in town.” So concludes Marc Blitzstein’s famous English translation of the song that opens Die Dreigroschenoper.
We’re going to be hearing a lot about pasticcios in the next seven months, as we run up to The Enchanted Island at the Met. We’d better get used to the idea, and what better way to do so than to go hear a home-made pasticcio at far lower prices?
Chandos has issued an excellent new CD of Serge Rachmaninoff‘s one-act opera Aleko, written when the composer was only nineteen as a graduation exercise for the Moscow Conservatory.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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