Cher Public

  • manou: In fatti – even… 10:03 AM
  • Krunoslav: In fatto: come la Principessa Pignatelli. 9:58 AM
  • Christopher Corwin: While it’s possible that a recording exists of the Amderson-Troyanos Giulio Cesare, in-house recordings from DC have... 9:54 AM
  • grimoaldo: Yes, I knew Anderson had done Cleopatra then but was not aware of the concert with Troyanos. 9:16 AM
  • Krunoslav: Agreed. With Anderson– as apparently with Emma Eames’ Aida– the Nile froze over. Rolandi was lovely in the... 9:07 AM
  • aulus agerius: I liked the Met performance of 3 years ago with Goerke as the Dyer’s Wife and Schwanehilms and Kerl and Reuter,... 8:41 AM
  • redbear: Splendid story. Thanks! 8:33 AM
  • Jungfer Marianne Leitmetzerin: Cornell MacNeil was the Germont at Moffo’s 1959 Met debut. Merrill followed shortly thereafter. 6:30 AM

We were dead, you know

The setting: a dark plaza extending directly in front of a storied opera house. The time: just after a ho-hum revival of something Puccini. The crowd streams out, moderately satisfied but also far from bowled over. A group open to a proposition, you could say.   Read more »

Gettin’ Ligeti Wit It

macabreWhen invited to participate in a discourse on artistic standards (hello, internet!), it’s easy — pleasurable, even — for an aesthete to bray about “the fall.” Where are the true heldentenors? Your kingdom for a Callas! (Or a Stratas, or a Rysanek!) And might the public, at long last, deserve a stable of directors who possess the good sense to avoid both the trope-y familiar as well as the ill-advised pathways of, ugh, the modern? Read more »