Puccini: A Biography by Mary Jane Phillips-Matz
Puccini: His Life and Works by Julian Budden
Puccini: His International Art by Michele Girardi, translated from the Italian by Laura Basini
Nineteenth-Century Music by Carl Dahlhaus, translated by J. Bradford Robinson
A Song of Love and Death: The Meaning of Opera by Peter Conrad
Handel’s Operas: 1704–1726 by Winton Dean, by John Merrill Knapp
Donizetti and His Operas by William Ashbrook
A lecture on the new critical edition of Verdi’s opera, Giovanna d’Arco, which restores much that had been removed by contemporary censors.
Francesca Zambello continues the delightfully varied mixture of works that she has produced during her tenure as director of the Glimmerglass Festival.
For her American debut in the part of Elena, Joyce DiDonato has been joined by a host of fine Rossini singers, especially Lawrence Brownlee as the King of Scotland. This promises to be a blockbuster event.
This exhibition is drawn largely from the city’s own private collectors and from the Art Institute itself, so it does not simply show off what is well known or has been often reproduced.
This promises to be one of the most important concerts of the season. What Muti will do is anyone’s guess, but you need to be there.
Seeing Charles Newell’s production of Proof is one of the most remarkable evenings in the theater you will ever have.
The director Robert Falls is always capable of illuminating a text, and in this case he treats Shakespeare’s “black comedy” as “black as pitch,” especially by imposing a shocking ending.
This production of La Gazzetta is probably the American premiere of the sole comic opera Rossini wrote for Naples, falling right between Il barbiere di Siviglia and La Cenerentola.