La Cieca has put her little grey cells to work and deduced that Opera Orchestra of New York will present two performances next season: Andrea Chenier on January 6, 2013 at Carnegie Hall, with Roberto Alagna in the title role; followed by I Lombardi on April 8 starring Angela Meade and Michael Fabiano (pictured). Both performances will be conducted by Alberto Veronesi.
At tonight’s Faust performance, two events of note: René Pape, upon his re-entrance after the Jewel Song, ad-libbed the spoken line “Diamonds are a girl’s best friend.” The performance, a broadcast, was the basso’s final one of this production.) After this moment of comedy, drama followed at the curtain calls. Read more »
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
In what is without doubt the final chapter of their on-again, off-again romance, Angela Gheorghiu and Roberto Alagna are on again, she says.
The interpretation of Carmen by Latvian mezzo-soprano Elina Garanca has been much debated, many finding her cold and remote, others admiring her subtly smoldering quality. A new Deutsche Grammophon DVD documenting the Met’s January 16, 2010 performances offers us an opportunity to examine the gypsy in close-up. This is certainly not the lusty, passionate, mercurial Carmen of many interpreters. There is no overt hip-swinging sexuality here. It strikes me that this is a Carmen for the head, and not the gut—the most intellectual Carmen of my experience. Rather than following her whims and desires, this Carmen acts with a glorification of […]
“…whenever he was joined by the baritone Simon Keenlyside, who sang Rodrigo, the Marquis of Posa and Carlo’s devoted friend, Mr. Alagna opened up in every way.” Well, wouldn’t you? [NYT]
After a rather long afternoon at the Met, a member of the cher public writes: “The Don Carlo final dress was worth catching.” Our spy has more to say after the jump.
In 1890 Cavalleria rusticana had taken the whole world by storm and in the next decade or so, hordes of composers, willing or unwillingly, jumped on the Verismo bandwagon. La navarraise (1894) is generally considered Jules Massenet’s homage to the genre, and for a long time the two works were often performed together. Emma Calvé, the creator of the title role in Massenet’s opera, and one of the most illustrious champions of the Verismo movement, frequently appeared in the two operas in the same evening.
Roberto Alagna, star of tonight’s pair of one-acters by Opera Orchestra of New York, discusses divorce and desserts with Our Own JJ. [New York Post]
Roberto Alagna dips his toe into the avant-garde, participating in Calixto Bieito‘s controversial production of Carmen at Teatro del Liceo de Barcelona. [El País]
Opera Orchestra of New York will jump-start its new incarnation in 2010-11 with a double bill of La Navarraise (Roberto Alagna, Elina Garanca) and Cavalleria rusticana (Alagna again, with Maria Guleghina and Mignon Dunn[!!!]), conducted by Music Director Designate Alberto Veronesi at Carnegie Hall on October 25. Eve Queler returns to the podium for L’Africaine on March 2 at Avery Fisher Hall, with Marcello Giordani and lavishly-bevowelled Italian soprano Chiara Taigi.