Ralph P. Locke
Even without international-caliber singers and players, Giovanni Piaisello’s “Amor vendicato” works much magic.
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Marc-Antoine Charpentier’s 1686 “David and Jonathan” brings ancient characters to life in this 2022 Chateau de Versailles production, brilliantly staged, danced, sung, and played.
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Carl Nielsen’s vivid biblical opera “Saul & David,” here paired with Helge Bonnén’s remarkable concert adaptation of poems from “Spoon River Anthology.”
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Latvian soprano Marina Rebeka, under conductor Christophe Rousset, shows why Berlioz and others loved “La Vestale”.
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Mary Bevan, silvery soprano beloved in Boston, enchants anew in one of Handel’s most frequently performed and recorded operas.
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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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