The interpretive reception of medieval music begins, as John Haines lays forth in the present investigation, already during the latter period of the Middle Ages.
Category: Reviews
BRITTEN : Gloriana
Towards the end of his life Britten became interested in the idea of developing the opera experience beyond the technical confines of the stage. He would have, I think, loved this film because it’s so intelligently sensitive to his fundamental ideas. It is, no less, a work of art built around a work of art.
Virginia Arts Festival celebrates “Pocahontas”
Norfork – It’s America’s biggest birthday since the 1976 bicentennial celebration of the Declaration of Independence:
Simon Boccanegra — Opéra national de Paris
Chief attraction of the Paris Opera’s new production of Simon Boccanegra was Dmitri Hvorostovsky in the title role.
Anonymous 4: Gloryland
The quality packaging of Anonymous 4’s latest recording indicates the group’s importance to their label, Harmonia Mundi.
LEONCAVALLO: Pagliacci
In the countless performances of Leoncavallo’s masterpiece Pagliacci since its 1892 premiere, there must have been times when the light tenor singing Beppe watched the other tenor, of heavier voice, in the lead role of Canio and wondered if someday he (the Beppe) would take on the dramatic role of the homicidal clown.
Audrey Stottler Sings Wagner
Audrey Stottler’s Wagner recital provides ample evidence of a voice with the range and heft for
the challenging roles of Brünnhilde and Isolde, as well as Sieglinde, a role often sung by a vocalist with less firepower.
Alison Balsom: Caprice
Dare one assume that with this disc, Alison Balsom becomes the first artist to bring her lung power to both Norma’s “Casta Diva” and Die Zauberflöte’s “Der hölle rache” in the same recital?
Porgy and Bess at Los Angeles Opera
Premiered at Washington National Opera, director Francesca Zambello’s Porgy and Bess arrived in Los Angeles May 4th, for a run of 12 performances in just 17 days.