Vladimir Jurowski said all the right things during a brief address at the opening of the concert. Beethoven’s Fifth Symphony should not be regarded as the climax of the performance, but as the fifth movement in a single work, whose theme was human suffering and the strength of the human spirit, never quashed by the former.
Yesterday, Conductor Riccardo Muti opened the Rome Opera, where he is “honorary conductor for life,” with a gala presentation of Verdi’s Simon Boccanegra.
A beautiful, blingless Butterfly. How else to describe the pleasures of four glorious voices singing Puccini’s heart breaking, passionate melodies without igniting romantic sparks?
Haydn’s settings of the Mass ought to be heard incessantly, in churches and in the concert hall.
Drawing on the dark viciousness and bitter malevolence of Prosper MÈrimÈe’s ethnographical novella, Calixto Bieito’s Carmen rejects any notion of flamboyant exoticism and alluring eroticism, and presents us instead with a sordid twilight zone of sexual violence and brutal malice.
French composer Charles Gounod wrote his five-act opera† RomÈo et Juliette† to a libretto that Jules Barbier and Michel CarrÈ based on William Shakespeare’s† Tragedy of Romeo and Juliet.
Extraordinary diva, Angela Gheorghiu pulled out of opening night after act one. It was news when she made it to the end of the second performance. Here is what happened at the third performance.
Jeanne D’Arc—Szenen aus dem Leben der Heiligen Johanna, the last stage work of the German composer Walter Braunfels, documents a passage in music history that has only recently begun to break through the surface.
Wozzeck Wozzeck, Wozzeck: The Los Angeles Philharmonic’s Laureate
Conductor, Esa-Pekka Salonen, now Principal Conductor and Artistic Advisor to the London’ Philharmonia Orchestra, is touring the United States with a program that includes three staged performances of Alban Berg’s opera, Wozzeck.