It’s hard to come up with any sensible reason to dislike Joyce DiDonato. With performances at the Grammys, the last night of the proms, and HDs at the Met’s New Year’s gala, she’s become one of the most visible American opera singer of our time, second only to Renée Fleming. In recent years she has acquired a fan base of fierce devotion due in large part to her unprecedented and personal interactions with fans. In addition to a wonderfully detailed blog on which she recently took a stand for equal rights for the LGBT community, she has a YouTube channel dedicated to answering the questions of aspiring opera singers. Read more »
I first heard Piotr Beczala as Tamino in San Francisco back in 2007, which was not a particularly noteworthy performance. He was fine, he sang very well, and if he walked his way through a 20-year-old staging with little care for motivation, he was also slathered in white face paint and a crimson wig. A Boheme the following year was much more impressive, and by the time he had rescued the Met’s first HD broadcast of Lucia after Rolando Villazon went down in what seemed like career-ending flames, I was fully a fan. Read more »
Marek Janowski’s second recorded Ring cycle began on an off note, with a Rheingold that was fleet and lucid but failed to impress in the important musical moments. The veteran maestro’s penchant for directness yields far more impressive results in his new Die Walküre, an involving and highly expressive performance that mines the wonders of the score and features what could prove to be career-defining outings by Tomasz Konieczny and Petra Lang. Read more »
The 19th century could not cope with Così fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers) with a libretto by Lorenzo da Ponte and music by Mozart, first presented in Vienna in 1790.
Anna Netrebko‘ s new CD of Verdi arias seems to be a bold, defiant, “in your face” statement about the direction she is taking with her career.
Thérèse is a compact work consisting of two short acts and clocks in just under seventy minutes.
the strip on my first and, so far at least, only visit to Las Vegas a few years ago, I noticed what to me was a most unexpected sight and startled my companions by pointing out the window and shouting “Auber!”
The behavioral phenomenon of limerence has been described as “an involuntary potentially inspiring state of adoration and attachment to a limerent object involving intrusive and obsessive thoughts, feelings and behaviors from euphoria to despair, contingent on perceived emotional reciprocation.”
Between Fidelio and Der Freischutz there was “Romantische Oper,” a type of musical drama descended from medieval mystery plays in which ghosts, gnomes and other “invisibles” get entangled in the lives of unsuspecting people.