Though, really, the young artists of the Merola Opera Program were more than alright in their annual showcase.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
Needing a Mozart palate-cleanser after the recent misbegotten Marriage of Figaro, I went back more than two decades for a Houston Così fan Tutte featuring then-rising Americans Christine Goerke, Joyce Di Donato, Richard Croft, and Nathan Gunn as the confused lovers.
I have a confession and you may need to sit down for it: Andrew Lloyd Webber’s Evita was one of the gateway drugs to my eventual opera fandom.
Teresa Stratas turned 83 yesterday and Trove Thursday features one of the recent past’s most interesting yet frustrating artists in two rare broadcasts.
Now, through the auspices of the Metropolitan Opera, we have Sonya Yoncheva—and if anything, the diva-dom has been kicked up a notch!
The Glimmerglass Festival premiered a searing examination of race, identity, and the fraught relationship between communities of color and law enforcement. Blue, with a score by Jeanine Tesori and libretto by Tazewell Thompson.
Hearing Lucas Meachem perform Kindertotenlieder in the crypt of Harlem’s Church of the Intercession was a heart-warming, and ultimately uplifting experience.
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
A double-barreled “Trove Thursday” birthday salute to Renée Fleming who turns 60 today.
Renée Fleming makes her belated “Trove Thursday” debut as Sandrina in a rare early performance of Mozart’s La Finta Giardiniera.
Louis XVI, Marie-Antoinette, and a slew of their members of court are hanging out in the afterlife…
Simply put, Christine Goerke is a stupendous Elektra.
Homer, inspired by many a muse, sang not of sequels to his Iliad.
Few new operas have received the near-unanimous acclaim that has greeted Written on Skin since its first performance at the 2012 Aix-en-Provence Festival.
James Conlon, Music Director for the LA Opera, often does the pre-game lecture in the huge open space on the second floor lobby of the Dorothy Chandler Pavillion and it’s almost always a standing room only crowd.
My first experience with John Corigliano’s music was in high school with the ear and mind blowing score he wrote for Ken Russell’s film Altered States.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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