In 1989, William Christie’s ten-year-old Paris-based baroque troupe, Les Arts Florissants, brought a staged production to the Brooklyn Academy of Music for the first time, Lully’s Atys.
Christian Gerhaher and Gerold Huber presented Schubert’s song cycles at the Wigmore Hall, London.
Frederick Delius counts among those many composers whose reputations rely on their orchestral efforts, but who dearly wanted to make a lasting contribution to the opera repertory.
Lawrence Zazzo’s last visit to the Wigmore Hall, in April earlier this year, saw him present an intriguing sequence of American song from the twentieth and twenty-first centuries.
The circumstances behind Mieczys?aw Weinberg’s The Passenger at the ENO, London, are extraordinary.
In a program of Italian and French arias and duets Lyric Opera gave to
Chicago audiences a preview of the first operas in its forthcoming season and
an opportunity to hear familiar voices as well as those soon destined to grace
the operatic stages of the world.
Los Angeles has been good to Turandot. The gritty 1984 Andre Serban production inaugurated an opera company in Los Angeles where a mere eight years later L.A. Opera bestowed the splendid Luciano Berio ending upon the world in an uber-pompous Gian-Carlo del Monaco production.
Whether or not one agrees with Joseph Kerman’s immortal definition of
Tosca as a “shabby little shocker,” Puccini’s
melodramma, the inaugural production of the Washington National
Opera’s 2011-12 season, is intense, “blood-and-guts” kind of
What do a ferociously violent melodrama, an ecstatic spiritual revelation and an ironic black farce have in common?