Cher Public

  • oscar: But Angela can still throw her arm up at the end of an aria like no one else can. 8:13 PM
  • armerjacquino: And I doubt she did it on the spur of the moment. 7:52 PM
  • antikitschychick: thanks for that clip NPW-Paris and looking forward to your report. Another thing to admire about her is how... 7:44 PM
  • Lady Abbado: If you liked that duet so much… httpv://www.youtub e.com/watch?v=nFR1 OqT64js 7:02 PM
  • Sanford: By the way, all three of the Lucias I’m singing with at Regina Opera sound better than the meh Nadine Sierra. 6:54 PM
  • Sanford: Isobel Leonard was awful. Talk about approximate coloratura! And that gown was hideous. Ugly color, badly designed. The Gioconda... 6:53 PM
  • armerjacquino: Hahaha, did he really? That’s hilarious. An ‘ah’ vowel is much, much easier to sing than an... 6:38 PM
  • antikitschychick: For a second there I thought you said “Leonardo DiCaprio is replacing JDD in Great Scott” LOL.... 6:13 PM

“Less filling”

“Disciplined and intelligent.” “Clean and transparent.” “Fleet and lithe.” Though Fabio Luisi’s Wagner performances draw frequent praise for their tidy professionalism, there’s often an undercurrent of frustration with the Genoese maestro for not wringing a little more blood out of the scores, or putting a personal stamp on them. Frequent work in the house where James Levine reigns has a way of creating invidious distinctions, even when clear vision and tasteful restraint can be welcome virtues.   Read more »

Crown jewel

I’m a long-time fan of the Opera in English series funded by The Peter Moores Foundation that started, fittingly enough, with conductor Reginald Goodall’s performances of Wagner’s Ring cycle recorded live from the London Coliseum and released by EMI. Cast from strength with a team of British singers that included the likes of Rita Hunter, Alberto Remedios, Norman Bailey and Derek Hammond-Stroud. Many of whom never found the kind of recognition they deserved outside of England for one reason or another and it stands alone today as a unique achievement of its era.   Read more »

Between the dragon and his wrath

Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring. In a DVD from a deeply interesting 2014 production from Staatsoper Hamburg, we find a fascinating if flawed direction by Karoline Gruber, propulsive and insightful conducting from Simone Young and a breakthrough performance by Bo Skovhus in the title role.

Shakespeare’s Lear has been an important part of my acting career. I’ve had the great good fortune to perform in eight productions of King Lear (three Lears, two Fools, Gloucester, Albany, and the Duke of Burgundy) and the title role contains such depth and complexity that I’d love to play it again and again. I had real concerns about how this astonishing drama could be adapted into an operatic form.   Read more »

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A monster, without being a myth

Before this recording arrived in my mailbox, I: ( a) didn’t know there was an operatic version of Wilde’s The Importance of Being Earnest, one of my favorite plays; and (b) was unfamiliar with the works of composer Gerald Berry.  After several hearings, I’m still not convinced that there is an operatic version of Earnest.  Barry has created what I would call a narrative set to a series of sound effects.  Now many of these effects are clever, occasionally amusing, and purposely bizarre, but they rarely seem to fit the brilliant verbal wit of Wilde’s original.  I kept thinking that, [...]

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Between two worlds

If works like Salome and Erwartung defined modernism in the first decades of the 20th century, Die Tote Stadt and Palestrina represented the regressive avant garde.

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Mais nous voyons à nouveau La Carmencita

The opening night of the Metropolitan Opera of September 1972 was supposed to be the dawn of a new era.

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Fresh princes

Imagine two tenors releasing French opera aria collections at the same time without duplicating a single track!

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Queen sized

The last day of December a parcel arrived in the mail containing an absolute delight: “Semiramide—La Signora Regale.” One of best vocal recordings of 2014, this sumptuous 2-CD set on Deutsche Harmonia Mundi features the marvelous Italian mezzo-soprano Anna Bonitatibus and includes 90 minutes of rarely-heard music written for the legendary Babylonian queen.

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Pazzo son, guardate!

Manon Lescaut was Giacomo Puccini’s first big international success. His publisher, Giulio Ricordi, tried to put him off the project by citing Jules Massenet’s very successful adaptation just nine years previously. Puccini was intent on making the story his own, insisting, “A woman like Manon can have more than one lover… I shall feel it like an Italian, with desperate passion.” Desperation is certainly the feeling this reviewer got from a new recording of Manon Lescaut from our friends at Decca Classics, but I’m also quite certain it’s not the same type that the Maestro had for his subject.

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Saxon violence

His shaved head in striking contrast to his dark beard and glinting eyes, the implacable Tartar conqueror glowers at us from the CD cover, while the uncropped photo of countertenor Xavier Sabata (above) is even more disturbing, featuring his raised fist and forearm tightly wrapped in a leather belt.

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