Opera
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.
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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.
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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.
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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!
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The rarely staged Oberon is easy to love and will fascinate admirers of early nineteenth-century music.
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The oft-neglected “other” great opera by Carl Maria von Weber, splendidly performed in 1955 and in remarkably clear and vivid sound. I hope this opera’s day will yet come.
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This year has brought a bumper crop of wonderful recordings of unusual operas — and one unusual recording of a repertory staple: Gounod’s Faust.
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One of Donizetti’s strongest and most original works, has finally been reconstructed and recorded by superb forces under the remarkable Mark Elder.
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Tarare is simply one of the most important operas of the Classic era, precisely because it challenges so many aspects of Classic-era “normality.” You won’t believe your ears.
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Even taking into consideration my several objections, this Faust is one of the most accomplished and intriguing opera releases of recent years.
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