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.
Rossini’s one-act opera from 1812 rings fresh changes on a host of comic-opera clichés.
A new recording of Benjamin Britten’s remarkable 1954 opera packs considerable ghostly punch.
Part rescue narrative and part comedic superhero story, this production offers a delightful visual and musical adventure.
This world-premiere recording of a powerfully compelling opera, based on a play by Jewish philosopher Martin Buber, is revelatory.
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.
Conductor René Jacobs restores missing bits of this beloved opera’s story, and Ukrainian soprano Kateryna Kasper glows as Ännchen.
Revelations continue: a composer best known for his sonatas and concertos (the Four Seasons) is a master of vocal music as well.
I know no more thoughtful disquisition, for the opera stage, on basic questions of life, death, war, love, power, and resistance.
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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