Metamorfosi is a marvelously effective and amusing one-act opera that would suit college opera workshops splendidly.
Immortal Beloved is a CD that will appeal to lovers of fine singing and to people curious about some hidden corners of Beethoven’s output.
Prince of Players is based on a play that also yielded the movie Stage Beauty, and it’s one of the best new operas to come along in years.
A Grimm, but not grim, opera about a Fisherman, his Wife, their Cat, and a wish-granting Flounder.
An 1829 opera about Elizabeth I and her supposed lover — enlivened by underhanded threats, virtuous resistance, remorse, and an attempted poisoning — proves well worth reviving.
The practice of re-using large chunks of an opera for a new plot and new words may sound implausible to us, but in Rossini’s hands the result is delightful and surprisingly coherent.
Music lovers should seize this rare opportunity to see Beethoven’s first (1805) version of Fidelio, complete with a reconstruction of Florestan’s original aria.
New recordings of Peter Schmoll and His Neighbors and of Euryanthe pose an embarrassing question: why is the opera repertory so narrow?
Odyssey Opera revels in the glittering wit and touching moments of this full-length chamber opera by Mario Castelnuovo-Tedesco, better known for his Hollywood film scores and some wonderful guitar pieces.
Arnold Rosner’s writing in each act is strongly contrapuntal, metrically unpredictable, and idiomatically scored. The music is marked by constantly shifting colors, a strong sense of rhythm, and a healthy dose of lyricism.