Ralph P. Locke
The subjects of our critic’s favorite albums of the past year include a dragon, a sex-obsessed priest, Mỹ Lai, and a grand pageant about Jewish history.
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Tenor Zachary Wilder — a Boston favorite — and others shine in a Cavalli opera from 380 years ago.
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The whole recording reminds me that numerous forgotten but extremely accomplished nineteenth-century works can provide rich satisfactions when performed as well as this
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This splendid album offers ample proof that Henry Desmarest stands shoulder to shoulder with his major 17th century French contemporaries, Lully and Marin Marais.
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A world-premiere recording of Kurt Weill’s “Prophets” — originally intended as the last act of “The Eternal Road” — with excellent singers, plus Thomas Hampson in Weill’s Walt Whitman Songs.
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A captivating world-premiere recording of a work by the 21-year-old who would later conquer the operatic world with “Les Huguenots” and “L’Africaine.”
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The Israeli-born composer, a professor at Gettysburg College, composes music that intrigues the mind and glistens with fresh sounds.
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Auber’s 1831 “Le Philtre” (“The Love Potion”) is an engaging romp that helped give birth to Donizetti’s “L’elisir d’amore.” Immensely popular in his own day, why isn’t it revived more often?
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Marin Marais, memorably enacted by Gérard Depardieu (and his son Guillaume) in the film “Tous les matins du monde,” proves a master of Baroque opera in this splendid recording.
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Joseph Bologne, whose mother was a slave in Guadeloupe, proves to be as skillful in vocal-dramatic music as we have long known he was in instrumental works.
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