Opera
By Aaron Keebaugh Lithe and economical, Boston Baroque’s superb production of Iphigénie en Tauride proved the old adage that less can be more. Iphigénie en Tauride, an opera in four acts. Libretto by Nicolas-François Guillard. Music by Christoph Willibald Gluck. Performed by Boston Baroque. Martin Pearlman, conductor. Mo Zhou, stage director. At GBH’s Calderwood Studio,…
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A masterful composer of French Baroque violin sonatas displays another side of his immense talent in this first-rate new recording of his Scylla et Glaucus.
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All in all, an ear-opening introduction to an important opera composer — and to the little-known tradition of German-language (with Italian touches) Baroque opera.
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Meyerbeer’s Robert le diable paved the way for major works by Meyerbeer himself, Halévy, Verdi, Wagner (in German), Saint-Saëns, Massenet, and others — and this splendid performance shows why.
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Festival of American Song Records has released an elegant, touching performance of the totally delightful half-hour long “Picnic Cantata.”
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Aside from English pronunciation issues, the singers put over this remarkably polished and attractive opera by one of England’s great seventeenth-century composers with great panache, matching the superb instrumentalists.
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“We take the audience on a journey that’s not part of a traditional approach to opera.”
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More popular than The Beggar’s Opera, J. F. Lampe’s goofy opera of 1737 receives its first complete recording, and the performance is splendidly, subtly humorous.
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Rossini’s one-act opera from 1812 rings fresh changes on a host of comic-opera clichés.
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A new recording of Benjamin Britten’s remarkable 1954 opera packs considerable ghostly punch.
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