Kudos to the Los Angeles Opera Company for expanding its heretofore limited
Russian repertoire and opening its 26th season with Tchaikovsky’s
Eugene Onegin. The romantic work based on the novel in verse of the
same name by Alexander Pushkin, is likely everyone’s favorite
Tchaikovsky opera.
Author: Gary Hoffman
Eugene Onegin, Los Angeles
Mahler, Royal Festival Hall
My response to much of this and last year’s Mahler anniversary bonanza
has been to stay away: certainly not out of antipathy, nor out of boredom, nor on account of any other negative reaction to the music of a composer whom I admire as greatly as ever, but simply because there are too many unnecessary performances of that music on offer.
Excerpt: ‘Anna Bolena’ at the Met
http://video.nytimes.com/video/2011/09/27/arts/music/100000001076456/excerpt-anna-bolena-at-the-met.html?ref=music
Independent podcast – ENO OperaTalks: David Pountney
http://www.independent.co.uk/arts-entertainment/classical/features/independent-podcast–eno-operatalks-david-pountney-2362895.html
Bluthaus, Theater Bonn
http://www.ft.com/intl/cms/s/2/f8bc389c-e9c2-11e0-bb3e-00144feab49a.html#axzz1ZHEnUjra
The Dallas Opera Announces Meeting of Key Milestones in the Planned Turnaround of the Company’s Finances
http://blog.dallasopera.org/2011/09/28/the-dallas-opera-announces-meeting-of-key-milestones-in-the-planned-turnaround-of-the-company%E2%80%99s-finances/
Billy Budd at the Barbican
Among recent recordings of Britten’s opera Billy Budd, the recent
release conducted by Daniel Harding has much to offer in terms of performance
quality, interpretation, and also the quality of recording.
Atys, Brooklyn Academy of Music
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.
The Bostridge Project, Wigmore Hall, London
http://www.ft.com/intl/cms/s/2/e086f992-e8e6-11e0-ac9c-00144feab49a.html#axzz1ZCvC3xiw
Lawrence Zazzo, Wigmore Hall
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.