Billevesées

Billevesées is a English-speaking blog specialized in the field of classical music and opera. As such, Billevesées is a qualified source of soClassiQ, like Iron Tongue of Midnight or All the conducting master class and many others. The oldest article indexed by soClassiQ is dated 2012-01-02. Since then, a total of 344 articles have been written and published by Billevesées.

Billevesées blog activity

Billevesées seems to be on pause right now, since no article has been published for 3 months. The last article in Billevesées, "Catching Up With: Jessica Gould", is dated 2018-02-18.

"On pause" does not mean, however, that Billevesées will not resume its activity soon, nor that its articles are less interesting than another more active source.

This editorial activity is no different from that recorded for the previous period.

Billevesées in the last 36 months

Weekly publications:

2018
2019
2020
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Billevesées has been selected by soClassiQ to be among its qualified sources because we believe that its articles fully contribute to the knowledge of classical music and opera. Because it is up to everyone to make their own opinion, to love Billevesées or to prefer other writings, all our visitors and members are invited to discover Billevesées. If you like it, feel free to add it to your browser bookmarks or soClassiQ bookmarks (for its members, with the button below). This will allow you to come back to it easily and regularly.

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Billevesées

2018-01-05 21:45:00

Catching Up With: Jessica Gould 

Photo by Nathan Smith. Soprano Jessica Gould sometimes projects a mournful quality with her voice (and more on that in a moment), but it’s been with great happiness that I’ve heard her again recently, both in concert, under the aegis of her Salon/Sanctuary organization; and on recording, with the recent release, I Viaggi di Caravaggio (The Travels of Caravaggio) [Cremona MVC 017 043]. Jessica is always up to something interesting, whether I write about her or not — and she has been busy.The surprise of the recording isn’t its thought-provoking program of largely unfamiliar, deeply researched, thematically linked material. The surprise is that Jessica didn’t program it herself. Her performing partner, Diego Cantalupi, invited her to sing on the album, and he provides sensitive accompaniment on lute and theorbo, also having devised the program. Cantalupi identifies female models (mostly prostitutes) in Caravaggio’s paintings and associates them with music by [
]

Catching Up With: Jessica Gould

Billevesées

2018-02-18 17:24:00

Catching Up With: Scott Frankel’s American Songbook 

Catching Up With: Scott Frankel’s American Songbook

The cast of War Paint.Joanna Glushak, a sister veteran of Rags, is third from right. Last night I braved a “wintry mix” and made my way to Lincoln Center’s off-campus Appel Room for the latest installment in the “American Songbook” series: a concert tribute to lyricist Michael Korie and composer Scott Frankel. The program featured songs from shows that have played in New York (Grey Gardens, Happiness, Far from Heaven, and the most recent, War Paint), as well as shows that haven’t. I knew Doll and Meet Mr. Future primarily from things Scott has told me about them, the former a portrait of the relationship between Alma Mahler and the painter Oskar Kokoschka (whose name Scott pronounces almost mockingly), the latter a vignette of the 1939 World’s Fair. I knew Scott’s version of Finding Neverland primarily from what I read about it in the newspaper.The “American Songbook” series is [
]

Billevesées

2018-02-18 17:24:00

Catching Up With: Scott Frankel’s American Songbook 

Catching Up With: Scott Frankel’s American Songbook

The cast of War Paint.Joanna Glushak, a sister veteran of Rags, is third from right. Last night I braved a “wintry mix” and made my way to Lincoln Center’s off-campus Appel Room for the latest installment in the “American Songbook” series: a concert tribute to lyricist Michael Korie and composer Scott Frankel. The program featured songs from shows that have played in New York (Grey Gardens, Happiness, Far from Heaven, and the most recent, War Paint), as well as shows that haven’t. I knew Doll and Meet Mr. Future primarily from things Scott has told me about them, the former a portrait of the relationship between Alma Mahler and the painter Oskar Kokoschka (whose name Scott pronounces almost mockingly), the latter a vignette of the 1939 World’s Fair. I knew Scott’s version of Finding Neverland almost exclusively from what I read about it in the newspaper.The “American Songbook” series [
]

Billevesées

2018-01-05 21:45:00

Catching Up With: Jessica Gould 

Photo by Nathan Smith. Soprano Jessica Gould sometimes projects a mournful quality with her voice (and more on that in a moment), but it’s been with great happiness that I’ve heard her again recently, both in concert, under the aegis of her Salon/Sanctuary organization; and on recording, with the recent release, I Viaggi di Caravaggio (The Travels of Caravaggio) [Cremona MVC 017 043]. Jessica is always up to something interesting, whether I write about her or not — and she has been busy.The surprise of the recording isn’t its thought-provoking program of largely unfamiliar, deeply researched, thematically linked material. The surprise is that Jessica didn’t program it herself. Her performing partner, Diego Cantalupi, invited her to sing on the album, and he provides sensitive accompaniment on lute and theorbo, also having devised the program. Cantalupi identifies female models (mostly prostitutes) in Caravaggio’s paintings and associates them with music by [
]

Catching Up With: Jessica Gould

Billevesées

2017-12-18 18:23:00

Catching Up With: Adamo’s ‘Becoming Santa Claus’ 

Foreground: Rivera, Boehler, Blalock; background: Plitmann, a bit of Jameson, Burdette. It’s usually the case that new operas require a second hearing from me: I can’t absorb all the music at once, and sometimes I can’t even be sure what I think of a work overall. This was especially true of David T. Little’s Dog Days, which I admired extravagantly and yet didn’t fully appreciate until I’d heard it several times. (Who knows? Maybe I still don’t fully appreciate it. I’d better keep listening to find out!)As I’ve written here, I required a few hearings of Mark Adamo’s first opera, Little Women, before I could separate what Mark actually wrote from what I expected. Unpredictability is an asset, and who knows whether I could have enjoyed so many performances — and a recording — of this opera over the years, if it actually had been the sound I originally [
]

Catching Up With: Adamo’s ‘Becoming Santa Claus’

Billevesées

2017-12-18 18:23:00

Catching Up With: Adamo’s ‘Becoming Santa Claus’ 

Foreground: Rivera, Boehler, Blalock; background: Plitmann, a bit of Jameson, Burdette. It’s usually the case that new operas require a second hearing from me: I can’t absorb all the music at once, and sometimes I can’t even be sure what I think of a work overall. This was especially true of David T. Little’s Dog Days, which I admired extravagantly and yet didn’t fully appreciate until I’d heard it several times. (Who knows? Maybe I still don’t fully appreciate it. I’d better keep listening to find out!)As I’ve written here, I required a few hearings of Mark Adamo’s first opera, Little Women, before I could separate what Mark actually wrote from what I expected. Unpredictability is an asset, and who knows whether I could have enjoyed so many performances — and a recording — of this opera over the years, if it actually had been the sound I originally [
]

Catching Up With: Adamo’s ‘Becoming Santa Claus’

Billevesées

2017-11-24 14:00:00

Catching Up With: Jane Alexander 

Never lovelier. NOTE: This is the first of what I expect to be several essays on topics that I should have been writing about on a regular basis, over the past several months.Writing Madeline Kahn’s biography gave me the opportunity to meet, speak, and/or correspond with a number of people whose work I already admired — as well as coming to admire many of Madeline’s other colleagues, with whose work I had been unfamiliar. In the former category are of course great comedians such as Mel Brooks, Robert Klein, and Lily Tomlin, but also some Great American Actors who worked with Madeline onstage. In the past several months, I’ve seen both Jane Alexander and Kevin Kline return to the boards, offering welcome reminders that, no matter how they excel onscreen, they’re authentic theater animals. Jane Alexander’s theater background helped me considerably the first time we spoke. When conducting a [
]

Catching Up With: Jane Alexander

Billevesées

2017-11-16 20:00:00

An “Enchanted” Beginning:Act I at the Met. As an event, the Metropolitan Opera’s presentation of Thomas Adùs’ The Exterminating Angel has pleased me. Boosted by a rave review in the New York Times and by worldwide press coverage of soprano Audrey Luna’s record-breaking achievement — reaching the highest note ever sung on the Met stage — the production has attracted large audiences, which isn’t always the case for new operas. (Indeed, for any opera written after Madama Butterfly and Der Rosenkavalier, Turandot [1926] being the notable exception.) Even more encouraging: the audiences have skewed younger than is typical for the Met or most other opera companies. When I started attending the opera, I was 13 years old and very often the youngest person in the auditorium. What’s dismaying is that, on many nights, more than four decades later, that’s still true — but not for Exterminating Angel.Beyond this, I [
]

Billevesées

2017-11-24 14:00:00

Catching Up With: Jane Alexander 

Never lovelier. NOTE: This is the first of what I expect to be several essays on topics that I should have been writing about on a regular basis, over the past several months.Writing Madeline Kahn’s biography gave me the opportunity to meet, speak, and/or correspond with a number of people whose work I already admired — as well as coming to admire many of Madeline’s other colleagues, with whose work I had been unfamiliar. In the former category are of course great comedians such as Mel Brooks, Robert Klein, and Lily Tomlin, but also some Great American Actors who worked with Madeline onstage. In the past several months, I’ve seen both Jane Alexander and Kevin Kline return to the boards, offering welcome reminders that, no matter how they excel onscreen, they’re authentic theater animals. Jane Alexander’s theater background helped me considerably the first time we spoke. When conducting a [
]

Catching Up With: Jane Alexander

Billevesées

2017-11-20 20:20:00

Lenny and Joyce during the first performance of Arias and Barcarolles. Joyce Castle captivated me from the minute we met, more than 30 years ago. Since then, I continually discover that she’s had that effect on other people, too, many of whom I admire in their own right. When I interviewed director Harold Prince, for example, we concluded our conversation with praise of Joyce — almost as if we were trying to one-up each other, or competing for the presidency of her fan club.Leonard Bernstein thought highly of Joyce, too: at one rehearsal, the height-challenged composer was so delighted that he pulled up a chair and stood on it to kiss her. Joyce sang the first performance of his Arias and Barcarolles, and she won the hearts of New York audiences (and a Grammy Award) playing the Old Lady in his Candide at City Opera in the 1980s. Joyce [
]

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