Concert Review: The Night Was Sultry

Alice Coote sings French chansons at Zankel Hall.
by Paul J. Pelkonen

Hot house: The mezzo Alice Coote. Photo © IMG Artists.

The grand tradition of French art song (usually referred to as chanson or melodie) is not as instantly familiar as the German lied. In this country, French music of the Romantic and Modern era  is usually heard in the concert hall, ballet theater or opera house, with the vast trove of songs relegated to academics or silently ignored. On Thursday night, English mezzo-soprano Alice Coote sought to correct that oversight with a vast and wide-ranging program of chansons, plucked and proudly displayed in a recital at Zankel Hall, the modern recital space tucked neatly beneath its parent, Carnegie Hall.

The Business of Revivals

Impresario Michael Capasso may save two failed opera companies.
by Paul J. Pelkonen

In his proposal for a New York City Opera Renaissance, impresario Michael Capasso
suggests mounting Franco Zeffirelli's production of Tosca (above)
in Lincoln Center's intimate Rose Theater.
Act I of Tosca. Photo © Teatro Opera di Roma.

In a dramatic turn of events worthy of the operatic stage, two recently darkened New York opera companies have unveiled a plan to join forces and come back to life. The proposal, linked to yesterday on parterre.com (and readable here) comes from Michael Capasso, the general director of the recently dimmed Dicapo Opera. The new hybrid opera company would be called (wait for it)

NEW YORK CITY OPERA RENAISSANCE.

Concert Review: The Keys to the Kingdom

Marc-André Hamelin returns to Zankel Hall.
by Paul J. Pelkonen

Marc-André Hamelin. Photo by Sim Canetty Clark for Colbert Artists Management.

Any recital by Marc-André Hamelin in New York City is greeted with eager, one would say even fevered anticipation by piano aficionados. Mr. Hamelin may not have the international fame of Yevgeni Kissin or Lang Lang. He has been invited (yet) to join Metallica onstage. But this artist has something more than virtuosity. He has musicianship--and a willingness to explore the difficult corners of the piano catalogue where other artists so often fear to tread.

Metropolitan Opera Preview: Prince Igor

Ildar Abdrazakov takes on a barbarian horde in this Russian epic.
by Paul J. Pelkonen

Beautiful dreamer: Russian bass Ildar Abdrazakov sings the title role in Prince Igor.
Photo by Micaela Rossato © 2013 The Metropolitan Opera.

Star Russian bass Ildar Abdrazakov is the principal attraction in the Met's new production of Prince Igor. This new production by director Dmitri Tcherniakov is the most ambitious offering in the second half of the 2013-14 opera season.