Ralph P. Locke
Is it any wonder? An opera that angered Louis XIV in 1677 brings enormous pleasure in 2020.
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Prince of Players is based on a play that also yielded the movie Stage Beauty, and it’s one of the best new operas to come along in years.
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The practice of re-using large chunks of an opera for a new plot and new words may sound implausible to us, but in Rossini’s hands the result is delightful and surprisingly coherent.
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Music lovers should seize this rare opportunity to see Beethoven’s first (1805) version of Fidelio, complete with a reconstruction of Florestan’s original aria.
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Odyssey Opera revels in the glittering wit and touching moments of this full-length chamber opera by Mario Castelnuovo-Tedesco, better known for his Hollywood film scores and some wonderful guitar pieces.
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Imagine the excitement of experiencing, for the first time, an opera by one of the greatest composers to have come out of the Spanish-speaking world!
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The oft-neglected “other” great opera by Carl Maria von Weber, splendidly performed in 1955 and in remarkably clear and vivid sound. I hope this opera’s day will yet come.
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I had never heard of Marcus Paus before, but his work I Hate Men, set to witty verses by Dorothy Parker, proved to be one of the most entertaining and engaging pieces I have heard in recent years.
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Colorful, characterful, and full of worldly wisdom, The Last Sorcerer—by a skilled and imaginative composer, to a text by the great Russian novelist— receives a superb world-premiere recording, with Met mezzo Jamie Barton and bass-baritone Eric Owens.
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Arts Commentary: Reviewing Music, Re-viewed
Our opera-loving reviewer contrasts his own pieces, written 48 years apart, on the same Offenbach operetta.
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