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.
Another operatic version of Oscar Wilde’s one-act love triangle that ends with the woman’s husband murdering her lover, to her enraptured delight.
Salome is not the only strong opera based on an Oscar Wilde play. This one-acter by Zemlinsky deserves a place in the repertoire today.
A world-premiere recording of Siroe, King of Persia makes it clear that Leonardo Vinci (1690-1730) was as fine a craftsman as the painter with a similar name.
Imagine the excitement of experiencing, for the first time, an opera by one of the greatest composers to have come out of the Spanish-speaking world!
The rarely staged Oberon is easy to love and will fascinate admirers of early nineteenth-century music.