About Superconductor

Our motto: "Critical thinking in the cheap seats." Unbiased, honest classical music and opera opinions, occasional obituaries and classical news reporting, since 2007. All written content © 2018 by Paul J. Pelkonen. For more about Superconductor, visit this link. For advertising rates, click this link. Follow us on Facebook.

Monday, March 25, 2019

Metropolitan Opera Preview: La Clemenza di Tito

Mozart's drama of intrigue and attempted assassination in Ancient Rome.
by Paul J. Pelkonen
Matthew Polenzani (seen here in the title role of Mozart's Idomeneo)
sings the title role in La Clemenza di Tito at the Metropolitan Opera this season.
Photo © 2019 The Metropolitan Opera.
A stellar cast (Joyce DiDonato, Matthew Polenzani, Elza van den Heever) takes the stage in this late season revival of Mozart's opera seria of passion and power politics.

Sunday, March 24, 2019

Opera Review: One Little Goat

Amore Opera celebrates a decade with Meyerbeer's Dinorah.
by Paul J. Pelkonen
Looking for goats in all the wrong places: Jennifer Moore in Dinorah.
Photo © Amore Opera.
Mention composer Giacomo Meyerbeer to an opera lover and they will think of enormous five-movement works with extravagant staging requirements, lengthy ballets and tremendous orchestral and choral requirements. And yet, there was another less elaborate side to the Meyerbeer. This month, the small Amore Opera company, which is celebrating a decade of bringing intimate opera to the ears of New Yorkers, brought back Dinorah. This is an all but forgotten pastoral fairy tale, in the genre of  opera-comique that had not been staged in New York in 100 years. Sung in French and linked with spoken dialogue passages delivered in English, this proved to be a fun Saturday afternoon at the theater at Riverside Church.

Friday, March 22, 2019

Concert Review: Wide Boys

Thomas Adès conducts the Boston Symphony Orchestra.
by Paul J. Pelkonen
Thomas Adès: Photo by Jesse Costa for the Boston Symphony Orchestra

Although the first conductors were themselves composers, the wearing of both hats at the helm of a symphony orchestra is always cause for comment. On Wednesday night, the British composer Thomas Adès, who is currently in the new role of "Artistic Partner" with the Boston Symphony Orchestra, led that band at Carnegie Hall in a program featuring the New York debut of his Piano Concerto.

Wednesday, March 20, 2019

Concert Review: Call Her Madeleine

Renée Fleming returns to Strauss at Carnegie Hall.
by Paul J. Pelkonen
She's not done yet: soprano Renée Fleming. Photo by Andrew Eccles.
The soprano Renée Fleming remains a legitimate superstar. So it caused particular turmoil in the operatic world last year when she announced that the performances as the Marschallin in Richard Strauss' opera Der Rosenkavalier would be her last...in that role. Last night at Carnegie Hall, Ms. Fleming returned to Strauss as another heroine, the Countess Madeleine in the composer's final opera, Capriccio.

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Critical Thinking in the Cheap Seats

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Since 2007, Superconductor has grown from an occasional concert or CD review to a near-daily publication covering classical music, opera and the arts in and around NYC, with excursions to Boston, Philadelphia, and upstate NY. I am a freelance writer living and working in Brooklyn NY. And no, I'm not a conductor.