Performances27 Jan 2012
Founded in 1984, the Basel Chamber Orchestra has developed a penchant for
programmes which combine the modern and unfamiliar with the traditional and
renowned. »
Performances27 Jan 2012
Three La Bohèmes in ten days, a critic’s nightmare that was more fun than a barrel of monkeys. »
Performances25 Jan 2012
This year is a big year for the Met. Of the seven new productions on the roster, two are the last two installments of a much-anticipated Robert Lepage Ring. »
Performances25 Jan 2012
This buoyant, refreshing performance of Haydn’s late oratorio, The Seasons, by Paul McCreesh’s superb Gabrieli Consort and Players conjured
a calendric kaleidoscope of seasonal climes, from the warm bucolic breezes of spring to summer’s fierce suns and flashing storms, from autumnal harvests and hunts to the frozen mists and fiery hearth-sides of winter. »
Performances25 Jan 2012
Composed during the spring hunting season of 1684, for a patron and performance venue unknown, Marc-Antoine Charpentier’s brief six-scene Opera de Chasse (‘Hunting Opera’), Actéon, has remained seldom performed and something of a mystery. »
Reviews25 Jan 2012
War and destruction is everywhere these days, not least in Pesaro where Graham Vick staged a lethal Mosé in Egitto last August, nor less so in San Francisco where baritone Thomas Hampson perished as Rick Rescorla in Heart of a Soldier last September. »
Interviews25 Jan 2012
Lise Lindstrom, who made a notable splash in the opera world (debuts at La Scala and at the Met) with her portrayals of Giacomo Puccini’s Turandot, has recently undertaken the still more demanding role of Salome. »
Performances25 Jan 2012
Hugo Wolf is a hard sell. Technical expertise isn't enough. The secret to singing Wolf is expressing the unique personality in each song. Wolf, perhaps more than any other composer, creates miniatures that open out into mini-operas when performed well. »
Performances23 Jan 2012
Richard Strauss’s opera Ariadne auf Naxos presents challenges in casting not only because of the vocal line and identity associated with individual characters but also because of its nature as a self-comment on the musical stage and the requisite dramatic skills thus needed. »
Performances23 Jan 2012
What does it say about New York that, in the songs of the city commissioned by the Five Boroughs Music Festival and given performances in Brooklyn, Queens and, now, Manhattan, the poets (often the composers themselves) rarely refer to life in that central part of the city, Rodgers and Hart’s “isle of joy”? »