By Susan Brodie
NEW YORK – Reconstituted City Opera offered Stewart Wallace and Michael Korie’s 1997 pop-culture fantasy imagining that American realist painter Edward Hopper and gossip columnist Hedda Hopper were married.
By Rodney Punt
HEIDELBERG, Germany – The 20th Heidelberg Spring tended to its Romantic-era roots with Brahms and Schumann, but also reflected the city’s
innovative present with pop and avant-garde events, and Thomas Quasthoff sang jazz.
By Rebecca Schmid
BERLIN – Agostino Steffani’s international style was a model for Handel and Telemann. His renaissance seems belated, but it came at last with Amor vien dal destino at Staatsoper Berlin, the first time in more than 300 years.
By Paul Robinson
DIGITAL REVIEW – Pianist Angela Hewitt, a celebrated Bach authority, has now immersed herself in Scarlatti’s music with that same scholarly thoroughness and detailed preparation, and the results are equally insightful.
By James L. Paulk
FT. WORTH – In its premiere at the Ft. Worth Opera, David T. Little’s opera about President Kennedy’s fateful Texas stopover channels Philip Glass, John Adams, Britten, and Hollywood while indulging in some graphic sexual banter.
By Nancy Malitz
CHICAGO – Ambrogio Maestri, the world’s reigning Falstaff, again linked up with Riccardo Muti, who taught him the role, in a week of Chicago Symphony Orchestra concert performances. There was no stage director in sight.
By C. J. Gianakaris
KALAMAZOO – Since 1991, the Irving S. Gilmore International Keyboard Festival has assembled a biennial blitz of concerts by esteemed pianists from all over the world. This year’s 19-day immersion starts April 26.