Armchair Operas and Amusements

Armchair Operas (and Voices) 15.

Even though Gould appears, this opera is about creativity and achievement, or mediocrity and failure depending upon your perspective.

Armchair Operas (and Voices) 15.

Even though Gould appears, this opera is about creativity and achievement, or mediocrity and failure depending upon your perspective.

Armchair Operas and Amusements 14.

Cage and Feldman criticize the river’s flow while standing in the middle of it. They talk about art and music, about creating and teaching, about how things just aren’t what they used to be.

Armchair Operas and Amusements 14.

Cage and Feldman criticize the river’s flow while standing in the middle of it. They talk about art and music, about creating and teaching, about how things just aren’t what they used to be.

Armchair Operas and Amusements 13.

An invigorating program featuring difficult works in the lied tradition.

Armchair Operas and Amusements 13.

An invigorating program featuring difficult works in the lied tradition.

Kurtág: Signs, Messages, but no Games / Armchair Operas and Amusements 12. / Hungarian Holiday 4.

ECM has bundled crackerjack performances of 11 large-scale compositions, most with voices backed by orchestra or large ensembles.

Kurtág: Signs, Messages, but no Games / Armchair Operas and Amusements 12. / Hungarian Holiday 4.

ECM has bundled crackerjack performances of 11 large-scale compositions, most with voices backed by orchestra or large ensembles.

Armchair Operas and Amusements 11.

Perhaps we can call Luci mie traditrici Sciarrino’s most popular opera. It is unquestionably comprehensible and absorbing, not just because it takes inspiration from Don Carlo Gesualdo’s sordid crime.

Armchair Operas and Amusements 11.

Perhaps we can call Luci mie traditrici Sciarrino’s most popular opera. It is unquestionably comprehensible and absorbing, not just because it takes inspiration from Don Carlo Gesualdo’s sordid crime.

Passion Texts

Aperghis treats us to nearly an hour of urgent, exhilarating nonsense.

Passion Texts

Aperghis treats us to nearly an hour of urgent, exhilarating nonsense.

Armchair Operas and Amusements 10.

The 89-minute documentary coalesces around the work that Barshai considered his most important: completing Bach’s Art of Fugue and producing a performing edition of Mahler’s Tenth.

Armchair Operas and Amusements 10.

The 89-minute documentary coalesces around the work that Barshai considered his most important: completing Bach’s Art of Fugue and producing a performing edition of Mahler’s Tenth.

Armchair Operas and Amusements 9.

In Svoboda’s wide-ranging homage, original bits may be recostumed or might lurk beneath contemporaneous texts.

Armchair Operas and Amusements 9.

In Svoboda’s wide-ranging homage, original bits may be recostumed or might lurk beneath contemporaneous texts.

Armchair Operas 8.

A week spent in Stockholm put me near the Raoul Wallenberg memorial, sited within view of the capitol’s water and synagogue. Easy to miss at first, the granite sphere soon becomes a landmark.

Armchair Operas 8.

A week spent in Stockholm put me near the Raoul Wallenberg memorial, sited within view of the capitol’s water and synagogue. Easy to miss at first, the granite sphere soon becomes a landmark.

Armchair Operas 7.

Der Mond appeared two years after the runaway hit Carmina Burana, and like most everything Orff penned in its wake, it shares the same beer-hall bravado, diatonic gamut and hammering rhythms.

Armchair Operas 7.

Der Mond appeared two years after the runaway hit Carmina Burana, and like most everything Orff penned in its wake, it shares the same beer-hall bravado, diatonic gamut and hammering rhythms.

Armchair Operas 6.

Eighty sluggish minutes dramatize three months in Bruckner’s life. The insecure 43-year-old spent the summer of 1867 at Bad Kreuzen wrestling with a decision: to leave Linz and seek his fortune in Vienna as a composer, or journey to Mexico.

Armchair Operas 6.

Eighty sluggish minutes dramatize three months in Bruckner’s life. The insecure 43-year-old spent the summer of 1867 at Bad Kreuzen wrestling with a decision: to leave Linz and seek his fortune in Vienna as a composer, or journey to Mexico.

Armchair Operas 5.

A pair of DVDs present some of the short-lived Vivier’s most important works in theatrical performances, a two-evening spectacle, Rêves d’un Marco Polo, assembled by de Leeuw and Audi.

Armchair Operas 5.

A pair of DVDs present some of the short-lived Vivier’s most important works in theatrical performances, a two-evening spectacle, Rêves d’un Marco Polo, assembled by de Leeuw and Audi.