Ralph P. Locke
I encourage anybody interested in the current state of opera to get to know Michael Dellaira’s “The Leopard”.
The opera repertory is so much richer than what gets staged nowadays; many of the most exciting recordings that came my way are of somewhat or entirely forgotten operas from past eras.
Samuel Adler, now 96 and still composing, has released an updated version of his rich, entertaining, and sometimes gripping memoir of a life well lived.
Each of these four works has its own flavor, and lovers of Baroque and Classic-era music will happily scoop up one or more of the recordings.
The Boston Early Music Festival announces its 2024-25 season, and our critic welcomes world-premiere recordings of operas by Mondonville and Destouches, splendidly sung and glitteringly played.
You want Baroque energy and Early Classic poise? Here’s a first-rate recording of a one-act, one-singer opera by Telemann along with some of his imaginative orchestral works.
A success in 1890s London and New York, the engaging Irish comic opera “Shamus O’Brien” finally gets Its world-premiere recording
In Handel’s day, excerpts from his operas were often played at home, without singers. They sound great on this new recording by the group humorously (and quite inaccurately) called False Consonance.
We have a recording of “Déjanire,” its first ever. And it’s splendid, with a superb cast, an insightful conductor, and the orchestra and chorus of the very city in which it was first performed a century earlier!
When the front page of the newspaper is getting me down, I can feel at least somewhat buoyed by remembering that we live in a world that can produce such profoundly touching and empathetic works of art as Kevin Puts’s “The Hours”.
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