If this generation were to stake a claim to its own classical vocal music “Golden Age,” Christine Brewer presents a strong case.
Category: Performances
Eugene Onegin, ENO
Deborah Warner’s new production of Tchaikovsky’s Eugene Onegin is an evocative and lyrical depiction of elegiac passion.
Dark Sisters, New York
They’re no longer just door-to-door missionaries with a science fiction theology and strange underwear! What with a presidential candidacy and a hit Broadway musical, the Mormons are having their breakout season in New York.
Carmen in San Francisco
DÈja vu. Well, sort of. Last time around (2006) there was a Carmen and then another who canceled leaving San Francisco Opera in the lurch.
Adriana Lecouvreur, Carnegie Hall
What could be more appropriate for the Samhain season than a return from
near-death?
Tales of Hoffmann, Chicago
For its first production of the new season, Jacques Offenbach’s
Les Contes d’Hoffmann, Lyric Opera of Chicago assembled a
distinguished roster of soloists with the Lyric Opera Orchestra under the direction of Emmanuel Villaume.
La sonnambula, Royal Opera
Bellini’s La sonnambula does not have the most gripping or
convincing of opera plots: a young girl sleepwalks into a stranger’s room, where she is discovered by her fiancÈ; disbelieving her pleas of innocence, he jilts her and plans to wed another; but, she is vindicated when she is spied on a nocturnal wander, and the lovers are reconciled.
Bluebeard’s Castle, Royal Festival Hall
BartÛk’s only opera, a masterpiece to rank with other sole works in
the genre such as Fidelio and PellÈas et MÈlisande, was
chosen for the climax of the Philharmonia’s year-long series,
‘Infernal Dance: Inside the World of BÈla BartÛk’.
Wily Wexford Stays the Course
Wexford Festival Opera made a boldly calculated choice sixty years ago when it eschewed bread-and-butter titles, and instead raided the dusty closet where forgotten pieces by some famous (and mostly non-) composers were (at best) consigned to history.