Excellent, eclectic, and engaging Monday Concert Live Stream – the Ninth – from Bavarian State Opera
06/06/2020
Germany Ninth Monday Concert: Soloists of the Bavarian State Ballet and Bavarian State Orchestra, Günther Groissböck (bass), Gerold Huber (piano), Live stream from the Bavarian State Opera, Munich, 1.6.2020. (MMB)
Günther Groissböck (bass)
Opera Philadelphia’s Digital Festival O concludes with Breaking the Waves
06/06/2020
United States Mazzoli, Breaking the Waves: Soloists, Chorus and Orchestra of Opera Philadelphia / Steven Osgood (conductor), Opera Philadelphia, Perelman Theater, Kimmel Center for the Performing Arts, Philadelphia. 29.9.2016 performance reviewed as part of Digital Festival O. (RP)
Kiera Duffy (Bess) in Breaking the Waves © Dominic M. Mercier
Returning to David McVicar’s 2015 Vienna Tristan which showcased singers willing to stand and deliver
31/05/2020
Austria Wagner, Tristan und Isolde: Soloists, Chorus and Orchestra of Vienna State Opera / Peter Schneider (conductor). 18.1.2015 performance and streamed by Wiener Staatsoper Live at Home and reviewed on 28.5.2020. (JPr)
Vienna State Opera’s Tristan und Isolde
Glyndebourne’s 2012 Marriage of Figaro was exceptional entertainment and kicked off Open House 2020
25/05/2020
United Kingdom Glyndebourne Open House – Mozart, Le nozze di Figaro: Soloists, Glyndebourne Chorus and the Orchestra of the Age of Enlightenment / Robin Ticciati (conductor). Glyndebourne Festival Opera performance 17.8.2012 and streamed and reviewed on 24.5.2020. (MMB)
Glyndebourne Festival Opera’s 2012 Le nozze di Figaro (c) Alastair Muir
The Met’s 2007 Il barbiere di Siviglia proves an escape from our current reality and a couple of hours of bliss
24/05/2020
United States Rossini, Il barbiere di Siviglia: Soloists, Chorus and Orchestra of the Metropolitan Opera, New York / Maurizio Benini (conductor). Performance of 24.3.2007 and reviewed as a Nightly Met Opera Stream (MMB)
Peter Mattei (Figaro), Joyce DiDonato (Rosina), & Juan Diego Flórez (Count Almaviva)
(c) Ken Howard/Met Opera
‘Mein lieber Schwan’: can a 1986 Met Lohengrin teach us anything 34 years later?
22/05/2020
United States Wagner, Lohengrin: Soloists, Chorus and Orchestra of the Metropolitan Opera, New York / James Levine (conductor). 10.1.1986 performance from the Metropolitan Opera House reviewed as a Nightly Met Opera Stream on 20.5.2020. (JPr)
Peter Hofmann (Lohengrin), John Macurdy (Henry) & Éva Marton (Elsa)
Opera Philadelphia’s Digital Festival O Presents We Shall Not Be Moved
21/05/2020
United States Roumain, We Shall Not Be Moved: Soloists, Opera Philadelphia Orchestra / Viswa Subbaraman (conductor). Opera Philadelphia, Wilma Theater, Philadelphia. Performance of 20.9.2017 reviewed as part of Digital Festival O. (RP)
Lauren Whitehead (Un/Sung) in We Shall Not Be Moved (c) Dominic M. Mercier
Looking back at Petra Lang’s vividly sung Brünnhilde in Vienna State Opera’s 2017 Götterdämmerung
20/05/2020
Austria Wagner, Götterdämmerung: Soloists, Chorus and Orchestra of the Vienna State Opera / Peter Schneider (conductor). Performance of 5.6.2017 from the Vienna State Opera and reviewed as a Wiener Staatsoper Live stream on 19.5.2020. (JPr)
Petra Lang (Brünnhilde), Falk Struckmann (Hagen), and Markus Eiche (Gunther)
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This joyous set of Beethoven's sonatas takes its place among the very best.In its own way, the Seven Words of Christ is just as sublime as the Stabat Mater.This sensitive, dynamic recording is a joy, and may even constitute a revelation.The pair exhibits a refined style on these illuminating performances.A deeply affecting experience that ought to win the opera many new admirers.'We're dealing with constantly changing regulations,' said conductor Sakari Oramo
This joyous set of Beethoven's sonatas takes its place among the very best.
In its own way, the Seven Words of Christ is just as sublime as the Stabat Mater.
This sensitive, dynamic recording is a joy, and may even constitute a revelation.
The pair exhibits a refined style on these illuminating performances.
A deeply affecting experience that ought to win the opera many new admirers.
'We're dealing with constantly changing regulations,' said conductor Sakari Oramo
