Ralph P. Locke
With Egyptian-born Amina Edris in the title role, Massenet’s opera engages the musical and theatrical imagination with its rich characterizations of Greek mythic adventures.
Even without international-caliber singers and players, Giovanni Piaisello’s “Amor vendicato” works much magic.
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.
Carl Nielsen’s vivid biblical opera “Saul & David,” here paired with Helge Bonnén’s remarkable concert adaptation of poems from “Spoon River Anthology.”
Latvian soprano Marina Rebeka, under conductor Christophe Rousset, shows why Berlioz and others loved “La Vestale”.
Mary Bevan, silvery soprano beloved in Boston, enchants anew in one of Handel’s most frequently performed and recorded operas.
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.
Tenor Zachary Wilder — a Boston favorite — and others shine in a Cavalli opera from 380 years ago.
The whole recording reminds me that numerous forgotten but extremely accomplished nineteenth-century works can provide rich satisfactions when performed as well as this
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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