It was during the Paul Kellogg era of the nineties and the aughts that New York City Opera became a force for Baroque opera—specifically works by Handel, which, with their historical-mythical plots and arrays of pleasing arias, were eminently adaptable to a plethora of production styles.
The Intriguing Return of Baroque Opera Read More »
“The more I looked at this score, the more it continued to scream ‘Vivaldi’ at me. From that point onwards, the process of constructing a strong argument for Vivaldi’s authorship took over.”
Yet Another Misattributed (And Rediscovered) Vivaldi Work In Dresden Read More »
For a while now I have been looking for ways to help musicians develop the kind of musical understanding which might help them in non-solo repertoire, and this has led to a number of questions.
Cellist David Watkin On The Art Of Continuo Playing Read More »
When the Boston Early Music Festival needed advice on how to revive the French Baroque opera Le Carnaval de Venise for its 2017 season, the artistic directors turned to Cornell musicologist Rebecca Harris-Warrick.
Musicologist Revives Dance In French Baroque Opera Read More »
Houle built the early-music program at Stanford University and guided several generations of performers and scholars. He believed it was necessary to understand the rhythms of Renaissance and Baroque dances in order to play them well.
Early Music Titan George Houle Has Died At 89 Read More »
