Tuesday, February 28, 2012
"Curiously enough, with an all-star Russian, Ukrainian and Georgian cast, the biggest name in the Met’s revival of Mussorgsky’s Khovanshchina is a Frenchman," writes Operavore blogger Olivia Giovetti.
Monday, February 27, 2012
In the latest installment of Warm-Up, Russian bass Ildar Abdrazakov tells blogger Olivia Giovetti about how he balances a pre-show routine when starring alongside his opera star wife.
Saturday, February 25, 2012
Composer Missy Mazzoli’s world, writes Operavore Olivia Giovetti, "is a meticulously maintained Versailles of abstraction and atmosphere. It may be overwhelming to live there permanently, but it’s a hell of a place to visit." Find out why in Giovetti's review of the world premiere of Song from the Uproar, now playing at the Kitchen.
Friday, February 24, 2012
Finnish composer Kaija Saariaho is composer-in-residence at Carnegie Hall this year. Her much-admired body of work includes the operas L’Amour de loin and Adriana Mater. Blogger Fred Plotkin spoke with her about her upcoming engagement.
Wednesday, February 22, 2012
A regular presence on the opera stage, bass-baritone Eric Owens made his Carnegie Hall recital debut with a surprisingly dark program that featured lieder by Wolf, Schumann and Schubert.
Monday, February 20, 2012
Commissioned by the Met and then dropped four years ago, Rufus Wainwright's Prima Donna opened Sunday in a performance by the beleaguered New York City Opera. Blogger Olivia Giovetti gives her review.
Friday, February 17, 2012
One is a veteran artist who gets better all the time; the other is a young singer whose immense gifts and potential suggest he might achieve comparable things, writes Fred Plotkin.
Monday, February 13, 2012
City Opera has unveiled its comeback performance of La traviata. Blogger Olivia Giovetti asks whether or not this will sustain the company or if it will succumb to its fiscal consumption.
Wednesday, February 08, 2012
With John Williams's 80th birthday and Alban Berg's 127th, blogger Olivia Giovetti considers how the two composers approached borrowing and pastiche.