Ralph P. Locke
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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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.
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A world-premiere recording of Richard Flury’s fascinating 1935 opera about love, deceit, and the possibility of forgiveness.
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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.
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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.
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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.
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Moissey Vainberg’s opera powerfully evokes the brutality of Hitler’s extermination camps and the moral ambiguity of postwar Germany.
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I am honestly puzzled by the casualness or, at times, ferocity with which some people nowadays reject classical music as inherently narrow or elitist.
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Two exquisite sopranos bring us refreshing songs, arias, and cantatas; and a noted Broadway composer and a remarkable Black librettist offer a searing opera about police brutality.
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