Revisions, revisions: Latest version of ‘End of the Affair’ debuts at Seattle Opera

http://seattlepi.nwsource.com/classical/244507_clas14.html

East Village Opera: Verdi in leather pants

http://seattletimes.nwsource.com/html/artsentertainment/2002561782_opera15.html

The Mikado: Lyric Opera San Diego

http://www.sandiego.com/critichome.jsp?x=000&id=daedf357-682b-4df3-a04f-acca78a5178d

Director sets stage for `Dido’

http://theedge.bostonherald.com/artsNews/view.bg?articleid=106934

Le Nozze di Figaro

http://www.guardian.co.uk/arts/reviews/story/0,11712,1591741,00.html

Unsingable Maybe, Yet ‘Daphne’ Blooms

http://www.nytimes.com/2005/10/14/arts/music/14daph.html

Fidelio, Barbican Hall, London

http://news.ft.com/cms/s/d28a7602-3b86-11da-b7bc-00000e2511c8.html

MARSCHNER: Hans Heiling

This Dynamic set spills over with rewards for opera lovers, especially those looking for something a little (or a lot) off the beaten path.

HAYDN: Missa Cellensis
MOZART: Credo Messe
PARADISI GLORIA: Psalms
PARADISI GLORIA: Stabat Mater

One can divide these recordings into two groups of two compact discs each. Much of the music of the two Mass settings offered here was composed in the mid 1770s. We have a young Mozartótwenty years old and in the employ of Archbishop Colloredo of Salzburg when he composed this Credo Massóand the veteran Franz Joseph Haydn, twice Mozartís age and firmly settled at the Esterhazy court, when he completed the Credo, Sanctus, and Agnus Dei movements of the Missa Cellensis, a work he had begun in 1766 with the Kyrie and Gloria movements.

Programming dances of death

http://www.budapestsun.com/full_story.asp?ArticleId=%7BE2D3124AB0B14A8FB35464EC54BE479F%7D&From=Style