The 'Quiet Luxury' of haute-contre Cyrille Dubois

Review

The extraordinary range of songs and exploration Fauré's evolution bestow 'essential' status on this collection.

'Cotton is like a hurricane swept through and then gone...'

Review

Simple staging and minimalist lighting were an intrinsic part of the presentation, adding to the gravity. Bridges was dressed in a black and white gown and both performers sang with barely any gestures.

Hildegard: a composer trapped

Review

With this as Ms. Snider's inspiration, the composer appears to be trapped, musically, by her subject matter. Ms. Snider limits herself to what sounds like a nod to the music of Hildegard and her contemporaries, while also vigorously nodding to the avant-garde.

Rigoletto: Stellar cast, shattering Gilda

Review

To say her performance was transformative would be a gross understatement. With a voice so pure and clear that it would seemingly belong to a different fach, Dufresne still soared effortlessly above the other huge voices on the stage without any difficulty.

Kidon Choi on Pagliacci: 'We watch tragedy like it's entertainment.'

Interview

'Pagliacci is about how private pain becomes public spectacle. The actors put on makeup and perform but behind the stage they are living with heartbreak and betrayal and violence,' says Choi. 'Today we see the same thing with social media. People put on a show of control and happiness but behind the scenes they feel loneliness and rejection.'

Pene Pati revels in superb accompaniment — in recital and the recording studio

Review

Happily and with considerable elan, Pati traverses the collection, expressing passion, melancholy and joy (with a particular emphasis on joy) to create a charming and irresistible listening experience.

Golden Age: An Exception to the Rule

Review

It is, in all seriousness, a consistent breath of spring, and yes, like many an opera, it's full of sunshine and showers.

Elza van den Heever and the MET Orchestra: A stunning all-Strauss program

Review

Delicacy and bombast strode hand in hand as they astonished with their surmounting of its dizzying transitions. Virtuoso playing came from every section of the orchestra and concertmaster, David Chan's prolonged and masterly solo work was precise and thrilling.

The Tin Angel: Le jazz cold

Review

We are told that 'Jazz clubs fade but the sound beneath the sound remains' -- one of the 'invisible assets' is the 'music' that the departed leave behind. A lovely idea, in theory. In this case, though, the 'sound beneath the sound' is not only 'invisible' but, like the non-existent jazz, inaudible.

The English Consort's Giulio Ceasare in Egitto -- Handel is the total package

Review

Sung with campy abandon by countertenor, John Holiday, his Tolomeo is a scene-stealing divo, edgy and pompous, whose obsequious charm is laced with poison. Hearing Holiday and Dumaux have at it is a reminder that Handel was a master of vocal effect.