Gianni Schicchi: Opera in one act (no. 3 of Il trittico)
Everyone who likes Massenet’s ThaÔs seems to feel obliged to apologize for it, or to become defensive: it’s not that bad, they all seem to say.
Can we call The Play of Daniel an opera, or “music drama” (as this performance put it), when such terms did not exist, and would not exist for centuries to come when the piece was devised, around 1200, by the cathedral chapter of Beauvais?
Dynamic offers devotees of classical era opera a rare and quite rewarding opportunity to hear I Giuochi d’Agrigento, a little-known opera by Giovanni Paisiello, best known as the man who composed a popular Barbiere di Siviglia before Rossini came along and eclipsed his predecessor.
An annual event televised around the world, the Vienna Philharmonic’s Neujahrskonzert has become a classical music institution, and as such is impervious to criticism. But not beyond it.
Ondine provides a treasure of a booklet for Fever, Karita Mattila’s traversal of some standards from the so-called “Great American Songbook,” plus two Brazilian numbers.
In its new production this fall season of Alban Berg’s Lulu, Lyric Opera of Chicago has achieved a near ideal synthesis of music and drama.