Here’s my list of two dozen superlative operatic offerings of wildly differing kinds, plus some notable non-operatic offerings.
Ralph P. Locke
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.
Odyssey Opera, and major singers from Ukraine and Russia, bring the great Russian composers’s three one-act operas to Jordan Hall on Sunday, September 25.
A world-premiere recording of Richard Flury’s fascinating 1935 opera about love, deceit, and the possibility of forgiveness.
I was pleased to encounter all three compact operas. Lennox Berkeley seems to me more and more an admirable, indeed lovable composer, and a bit of a chameleon. I like him in all his various colors.
New recordings serve up fine performances of music from Latin America, Brazil, and post-1918 England. And a novel sends its main character back two centuries into Mozart’s The Marriage of Figaro.
This “serenata” (or chamber opera) with characters from Graeco-Roman mythology receives an elegant world-premiere recording that may bring a major composer out from the shadows.
Moissey Vainberg’s opera powerfully evokes the brutality of Hitler’s extermination camps and the moral ambiguity of postwar Germany.
I am honestly puzzled by the casualness or, at times, ferocity with which some people nowadays reject classical music as inherently narrow or elitist.