(Photo: Noah Shaye) On June 28, 2025, Musikfestspiele Potsdam Sanssouci presented a rare revival of Baldassare Galuppi’s opera “Didone abbandonata” — the 1752 Madrid version. Commissioned by the legendary castrato Farinelli to honor King Ferdinand VI of Spain, this adaptation brought together three giants of the 18th century opera: Farinelli himself, librettist Pietro Metastasio, and composer Galuppi. More concise and {…}
Les Talens Lyriques releases its 2025-26 season. Lully’s “Proserpine” opens the 2025 season. Marie Lys, Véronique Gens, Olivier Gourdy, Jean-Sébastien Bou, Ambroisine Bré, Laurent Kilsby, Apolline Raï-Westphal, Nick Pritchard, Olivier Cesarini, and David Witczak make up the cast. They are joined by Chœur de Chambre de Namur led by Thibaut Lenaerts, and Les Talens Lyriques under the direction of Christophe {…}
(Photo credit: Brescia and Amisano) “I should reproach myself even more if I were to allow myself to be credited with the initiative for the new genre of Italian opera … it is to my librettist Calzabigi that the main credit goes …” Gluck, letter of 1775 Let us speak directly of the opera at hand, recently brought to the {…}
(Photo credit: Brescia and Amisano) One of the most common phenomena of the 18th century was the pilgrimage of European composers to Italy, seeking to immerse themselves in the “alla italiana” compositional technique and then return to their homelands to apply this revolutionary formula. Such was the case of Florian Leopold Gassmann (1729–1774), who left his native Bohemia to settle {…}
(Photo: Felix Grünscloß) Although “Siroe, re di Persia” managed a good run of 17 performances, following its premiere at the King’s Theatre, London in 1728, Händel never revived the work. Apart from a couple of productions in Brunswick in 1730 and 1735, it lay dormant until the 20th century, has never managed to establish itself in the repertoire, and remains {…}
(Photo: ©Zani-Casadio) In the autumn of 1709, as he was preparing to conclude his journey through Italy, George Frideric Handel triumphantly arrived in Venice to present his second Italian opera, “Agrippina.” The work was enthusiastically received by the audience, who acclaimed the composer with shouts of “Viva il Sassone!” (Long live the Saxon!) and with 27 performances that sealed its {…}
(Photo: Zani-Casdio) It was well after midnight when the final curtain fell on Teatro Alighieri’s production of Händel’s “Giulio Cesare.” It was a long evening, although, such was the quality of the presentation, there would have been few complaints even if it had continued for another hour or more. It was one of those performances in which the singing, the {…}
Details of the 2025 Innsbruck Festival of Early Music have been made public. For the purposes of this article only vocal performances are featured. Concerts First Prize winner of the 2020 Cesti International Singing Competition Margherita Maria Sala performs works by Galuppi, Marcello, Vivaldi, Ristori, and Handel. Sala is accompanied by the Ensemble Locatelli led by Thomas Chigioni. Performance Date: {…}
Programming for the 2024 Innsbruck Festival of Early Music has been announced. This article only features vocal performances. First up is a workshop for the upcoming performances of Giacomelli’s “Cesare in Egitto.” Soloists include Arianna Vendittelli, Emőke Barath, Filippo Mineccia, Margherita Maria Sala, Valerio Contaldo, and Federico Fiorio. Ottavio Dantone conducts the Accademia Bizantina. Performance Date: July 27, 2024 (Tyrolean {…}
Photo credit: Marco Caselli Nirmal Vivaldi’s “Orlando Furioso” is a work that represents baroque opera at its most exciting. Set on Alcina’s magical island, where the weird and wonderful are commonplace, it opens up the possibility for colorful and spectacular stagings with shipwrecks, fantastical beasts, monsters and statues that come to life. There are high mountains, wooded groves, steep cliffs {…}
(Photo: Brescia & Amisano) One of the more eye-catching works of Teatro La Scala’s current season is Leonardo Vinci’s “Li Zite Ngalera,” which has just finished a run of five performances. Vinci was born between 1690 and 1696 in Italy’s Calabria region but was dead by 1730, possibly poisoned by a jealous husband. Yet during his short life, he was {…}