Verdi’s Macbeth poses a challenge to any company with the audacity to mount it. It’s layered and fascinating, but it needs a strong cast of singers and a director with a clear-cut purpose to do justice to Verdi, Shakespeare, and convey the deep-seated drama in the music and libretto. In another installment of the Teatro Regio di Parma’s “Tutto Verdi” series, the small, ambitious house gives a performance that almost perfectly achieves those goals. Read more »
You can tell a lot about someone from their garage sale. You can tell what’s important to them. You can tell where they’ve been and who they are., what their priorities are and the kind of people they associate with: all sorts of things.
I learned a lot about the New York City Opera from their online auction a few weeks ago. Read more »
There’s something charming and almost irresistible about early Verdi opera. I always equate it to seeing a grade school test from Albert Einstein. All of the genius is there, but it’s just starting to take root and thrive.
Oberto, being Verdi’s first opera, is just about as early as early Verdi gets. Written in 1839, the opera is abundant with ensembles, choruses, duets and arias to keep audiences simulated. You can even hear the snippets of music that would a few years later become La traviata or Il trovatore or Aida. It’s unmistakably Verdi and 100% original. Read more »
Verdi’s only successful comic opera, Falstaff, is notably hard to produce.