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Star-Crossed Lovers in Ancient Castles

Star-Crossed Lovers in Ancient Castles

BY ELI JACOBSON | On April 12, anyone close to Manhattan who considers themself a hard-core opera fan was in one place: Carnegie Hall. We were all convened in that hallowed hall to hear Jonas Kaufmann attempt his first partial climb up the Mount Everest that is Wagner’s Tristan in a concert performance of Act II […]

No Exit

No Exit

BY ELI JACOBSON | One of the more adventurous offerings of the Metropolitan Opera’s 2017 – 2018 opera season is the US premiere of Thomas Adès’ “The Exterminating Angel.” The Adès opera, based on Luis Buñuel’s enigmatic 1962 surrealist film “El Ángel Exterminador,” arrived in New York after premiering last summer at the Salzburg Festival with […]

Late Autumn Voices

Late Autumn Voices

BY DAVID SHENGOLD | Juilliard Opera did very well by the good — not great — Rossini comedy “Il Turco in Italia” on November 19. Speranza Scappucci, conducting and playing continuo, guaranteed a scintillating, stylish performance for the fine orchestra, though a few inevitable first night “accidents” obtruded. One hopes to hear much more of her […]

Love and Deception

Love and Deception

BY ELI JACOBSON | I come late to the party in discussing Nico Muhly’s “Two Boys,” which just finished a run of seven Met performances –– indifferently received and poorly attended –– that marked the two-act work’s US premiere. The talented Muhly’s first opera, “Two Boys” premiered in 2011 at the English National Opera and was […]

Divine Familial Dysfunction

Divine Familial Dysfunction

BY ELI JACOBSON | Bard Summerscape presented the US staged premiere of Sergey Taneyev’s “Oresteia” (composed 1887-1894, premiered 1895) as part of its “Stravinsky and his World” program. Taneyev (1856-1915) was a piano prodigy who later became an influential musical pedagogue and theorist. His pupils included Rachmaninoff, Scriabin, and Glière, and his two-volume treatise on counterpoint […]

Grand Operas

Grand Operas

BY DAVID SHENGOLD | It was exciting to hear one of Donizetti’s final operas, 1840’s “La Favorite,” in the language and city — though not the theater — for which it was conceived. The elegant Theatre des Champs-Elysees has only graced Paris since 1913. Despite serious flu besetting both female principals — Alice Coote (Leonor) and […]