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Classical Voice North America
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Around the U.S.
In Leadership Turmoil, Oregon Bach Festival Showcases Its Vitality
‘Beethoven Effect,’ Still Felt Across Generations, Sparks A Chamber Fest
As Vocalists Sink Teeth, Words And Genres Get Pushed, Pulled, Chewed
Bach Festival, Newly Adventurous, Turns Its Spotlight On Monteverdi
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Canada
A Veiled Treasure: Redesigned Church As Intimate Concert Hall
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Beach’s Grand Mass Dusted Off, Cut Down, Its Fresh Vision Intact
All Hands On Deck: Orchestra Shares Stage With ‘Rheingold’ Singers
World
On Small Stage, British ‘Ring’ Cycle Scores Big On Imagination, Quality
Puccini Opera Marathon, Romanian Style, Honors Centennial Of His Death
‘Thrill Of A Lifetime’: Critic As Chorister Sings Bach At…
In Grotesque ‘Salome,’ Lise Davidsen Leaves Marker For The Ages
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Digital
New Video Of ‘Rusalka’ Is Appealing Evidence Of Its Rising Popularity
Applying Modern Prism, CD Shifts Perspectives On Women Composers
Rare Tchaikovsky Opera Displays Charms Before Killing The Characters
Motets From History’s Shadows Are Diamonds In Rough Performance
Out Of A Covid Project, Mozart Piano Sonatas Eloquent And Complete
Perspectives
20th-Century American Operas Receding From View On Nation’s Stages
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Our Critics’ Picks
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Amid Flourish Of Horns, Maestro Extends Chase Of Haydn’s Symphonies
American Opera, Voices Flavor Creative Mix On Stages Across Europe
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Kosky’s Stark ‘Bohème,’ A Wild Second Act Aside
Richard S. Ginell
-
September 18, 2019
Classical Voice North America
