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63

/3/

100

/1/

When Act 2 of Fidelio is being poured out in the most glorious tones imaginable from Mattila, Heppner and Pape - who can possibly complain? Who would honestly want to replace any of them? Who can fail to be overwhelmed with gratitude to own this disc? If I continue to count our blessings, I might mention the splendid Robert Lloyd drawing us to a thrilling finale as Don Fernando; and Falk Struckmann a convincingly evil Pizarro. So it is certainly not complaining, but fulfilling a reviewer's obligation to tell all, when I admit that Jennifer Welch-Babidge is little more than adequate as Marzelline. One might wish for a purer vocal line in this role - like a Bonney or an Isokoski.

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90

/1/

Experience what Zell Music Director Riccardo Muti calls “the work of a divine architect” in this special encore presentation of Beethoven’s Ninth Symphony. Recorded live September 18, 2014, at Orchestra Hall during one of the opening programs of the Chicago Symphony Orchestra’s 2014/15 season, this performance features Muti leading the Orchestra and Chorus and distinguished soloists in one of history’s most powerful and inspiring artistic works. A masterpiece whose staggering influence can be seen across classical music, it concludes with the famous Ode to Joy, which calls for understanding, peace and universal goodwill. The Chicago Symphony Orchestra is grateful to an anonymous donor for generously underwriting the recording of this concert in 2014.

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92

/34/

Julie Taymor’s kaleidoscopic production returns to select cinemas this holiday season in an encore presentation of the company’s first-ever Live in HD transmission that includes tenor Matthew Polenzani, baritone Nathan Gunn, and bass René Pape in this abridged, English-language version of Mozart’s classic fable.

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40

/1/

Mozart’s early masterpiece returned to the Met for the first time in more than a decade with Music Director Emeritus James Levine, who led the work’s company premiere in 1982, again on the podium. Tenor Matthew Polenzani brings both steely resolve and compassionate warmth to the title king of Crete, who is faced with an impossible decision. With her rich mezzo-soprano, Alice Coote sings the trouser role of Idomeneo’s son Idamante, who loves the Trojan princess Ilia, sung with delicate lyricism by Nadine Sierra. Elza van den Heever gives a thrillingly unhinged portrayal of the jealous Elettra. Jean Pierre-Ponnelle’s timeless production blends the grandeur of ancient myth with the elegance of Enlightenment ideals.

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7.6

/23/

A striking interpretation of Mozart's opera that became a sensation at the 2008 Salzburg Festival. This is not only a rethinking of the place and time of the opera, but also a deep disclosure of the characters' characters, their ambiguous inner world. A simple, at first glance, plot is turned by the creators of the play into a dynamic psychological thriller.

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Recorded in July 2003 at the Aix-en-Provence Festival, a Traviata like no other, directed by Peter Mussbach and starring Mireille Delunsch as Violetta.

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The 2022 Don Carlo at the Teatro di San Carlo, staged by Claus Guth, offers a contemporary, psychologically driven interpretation of Verdi's opera. Set in minimalist, stark environments, the production explores themes of power, betrayal, and inner conflict. The cast features Matthew Polenzani as Don Carlo and Ailyn Pérez as Elisabetta di Valois, both delivering compelling performances. Conducted by Juraj Valčuha, the production combines modern staging with the emotional depth of Verdi's score, providing a fresh perspective on the classic work.

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Polenzani and Ildebrando d'Arcangelo - and the Chorus and Orchestra of the Accademia di Santa Cecilia in Rom turn Rossini's "Stabat mater" into a celebration of "Italian-ness" in their first appearance at the Salzburg Festival.

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Donizetti's French masterpiece was in the hands of Italian conductor Antonello Allemandi. This maestro, a bel canto specialist, captured the fire and intensity of the passions from the get-go, making the overture a superbly eloquent transition to a musical world based on beautiful lines and colors that elaborate distress and make it compellingly elegant. Allemandi demonstrated a full authority over the stage for the musically complex scenes, and in the arias and duets he demonstrated his confidence in the artistry of distraught singers by establishing ample tempos to support their soaring vocal lines while he concentrated on pulling every possible nuance from the pit players.

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Celebrate the tenth anniversary of the Metropolitan Opera's Peabody and Emmy Award-winning series The Met: Live in HD. The broadcast of Donizetti's Roberto Devereux will be presented live on Saturday, April 16 in select cinemas nationwide. In this climactic opera of the trilogy, directed by Sir David McVicar, she plays Queen Elizabeth I, forced to sign the death warrant of the nobleman she loves, Roberto Devereux. Tenor Matthew Polenzani is Devereux, and mezzo-soprano Elina Garanca and baritone Mariusz Kwiecien complete the principal quartet in the bel canto masterpiece, directed by Sir David McVicar and conducted by Donizetti specialist Maurizio Benini.

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Kristine Opolais “gives a vocally lustrous and achingly vulnerable performance” (New York Times) in the role that helped launch her international career, the mythical Rusalka, who sings the haunting “Song to the Moon.” Director Mary Zimmerman brings her wondrous theatrical imagination to Dvořák’s fairytale of love and longing, rejection and redemption, giving the work “an inspired staging” (Huffington Post). Brandon Jovanovich, Jamie Barton, Katarina Dalayman, and Eric Owens complete “a matchless cast” (New York Times), and Sir Mark Elder conducts “a magnificent rendering of the composer’s lush score (Huffington Post).

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