Poison Ivy is the alter-ego of Ivy Lin, who in her day job teaches biology at an alternative transfer high school. Ivy’s love of opera began when her father decreed that Mozart, Beethoven and other symphonic and instrumental works were superior to opera. Naturally, Ivy rebelled and began to secretly listen to Met broadcasts on Saturday afternoons on WQXR. In her spare time Ivy runs her own performance arts blog, brags about her cat, and obsesses over Game of Thrones. If Ivy were to sing opera she’d be typecast as Despina until she was in a wheelchair.
I never made it through more than a few chapters of any Tolstoy work. And I never made it through Chapter One, Volume One of War and Peace. Yeah, I know. I suck. Turns out I was just not using the left side of my brain, because War and Peace can actually be a fun, entertaining, lighthearted musical. Read more »
Anna Netrebko once said about her early years: “I was brave, and I had a nice clear ringing voice which was always heard very well. But I was not any kind of artist at all.” This candid assessment of herself is something to keep in mind while watching the Metropolitan Opera’s National Council Audition Grand Finals which were held yesterday afternoon. Without fail, all nine finalists had nice clear ringing voices. Whether they develop into great artists is another question. Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
Is Manon Lescaut a cold, clinical tale of the splendors and pitfalls of transactional sex, or is it a romantic Italian opera at its most lush and melodic? Actually, it’s both. There’s always been a disconnect between Domenico Oliva and Luigi Illica’s adaptation of the Prévost novel and Puccini’s music. The libretto is episodic, with the title character portrayed as a calculating courtesan who abandons her lover des Grieux “without even a kiss goodbye.” This is however Puccini’s most romantic score. It swells with romantic ardor at every moment.
The director of a new DVD of this opera, Jonathan Kent, favors the transnational, exploitative aspects of the opera. His production is updated to modern times, and the opera begins at a seedy red light hotel. Manon Lescaut moves from a quick initiation into the sex trafficking world to being a spoiled porn star. Read more »
There might be nothing in the world as joyous as a Rossini overture.
The annual Richard Tucker Gala is probably the event of the year to indulge your love of verismo staples and can belto screaming.
Enthusiasts of Janácek’s opera will want to pick up this video immediately.
The production by Sebastian Baumgarten is the type of regietheater that’s not a rethinking or reconstruction, but just a hot mess.
It’s fun to wonder what might have happened if Rossini had never composed Il Barbiere di Siviglia. Would Giovanni Paisiello’s earlier adaptation of the work be a repertory favorite? Or would it have faded into obscurity with an occasional revival here and there?