Opera
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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Part rescue narrative and part comedic superhero story, this production offers a delightful visual and musical adventure.
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This world-premiere recording of a powerfully compelling opera, based on a play by Jewish philosopher Martin Buber, is revelatory.
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This re-release of a superb recording of a major Meyerbeer opera reminds us what treasures are available to opera companies (and college opera programs) willing to step beyond the well-trodden path.
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Conductor René Jacobs restores missing bits of this beloved opera’s story, and Ukrainian soprano Kateryna Kasper glows as Ännchen.
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Revelations continue: a composer best known for his sonatas and concertos (the Four Seasons) is a master of vocal music as well.
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I know no more thoughtful disquisition, for the opera stage, on basic questions of life, death, war, love, power, and resistance.
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Gil Rose’s team, headed by an incandescent Ellie Dehn as Catherine of Aragon, should help bring this major work back to the world’s opera-house stages.
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Arts Remembrance: In Memoriam — Tom Stoppard