Cher Public

  • operablogger: …and speaking of opera in the hinterlands (although Santa Fe is less “hinter̶ 1; than many other venues),... 7:52 PM
  • phoenix: Harteros was great, Ciccia – I didn’t care for her in Italian opera, but tonight she was great. Her voice... 7:38 PM
  • Signor Bruschino: Kind of off topic, but Fidelio popped into my mind yesterday and it’s lack of appearance at the Met recently.... 7:16 PM
  • laddie: Quinn Kelsey conquers Santa Fe in Rigoletto: http://tinyurl.com /o9nhnmb Definitely some of the best singing ever heard in Santa... 7:03 PM
  • antikitschychick: Great news; looking forward to Saturday’s broadcast :-). I suspected it would be a great role for her after I saw... 6:31 PM
  • Jungfer Marianne Leitmetzerin: This is the same production which originated at Theater an der Wien in September 2011 – the audio is... 5:34 PM
  • armerjacquino: Alas, the Covent Garden online archive doesn’t even pretend to be complete. It’s a bit of a bodge job for so... 5:06 PM
  • Henry Holland: Looks like an interesting, spare production, the Miles sounds like he can sing in tune, would love to hear a report from... 4:58 PM

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. Read more »

No such Gluck

Mozart tinkered with the Messiah. Mendelssohn adapted choral works by both Handel and Bach. But when Richard Wagner reached into the past and revised Gluck’s Iphigénie en Aulide, he went beyond the accepted boundaries of tinkering and more or less created a new work that’s fomented aesthetic debates ever since.   Read more »

Panning for gold

Giacomo Puccini’s horse-opera version of “Snow White and the Seven Dwarfs,”  La Fanciulla del West, based on David Belasco’s play, The Girl of the Golden West, enjoyed the status of a curate’s egg for quite a while. Its popularity dwindled after its initial, and wildly successful, premiere at the Metropolitan in 1910 starring Enrico Caruso, Emmy Destinn, and Pasquale Amato and conducted by Arturo Toscanini. Since it was the first new opera commissioned by the Met it generated a lot of excitement in the media and with the public. Critics mostly fell over themselves for the glories of the music, mise en scène (real horses on stage!), the singing and conducting.   Read more »

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West coast story

I fall on my knees before this new live recording issued by the San Francisco Symphony.

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Dancing with the star

After listening to “Stella di Napoli,” her mightily impressive new CD of rare bel canto arias just released by Erato, I felt many of the old sparks reigniting.

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Past perfect

With much laying-on of fanfares and gift boxes our friends at Decca Classics have unleashed Luciano Pavarotti Edition 1: The First Decade on a weary and satiated public.

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Fairy tale

“Conduct Salome and Elektra as if they were by Mendelssohn: Fairy music.” Seriously, how often has that happened?

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Bomb squad

Vienna never really forgave Erich Wolfgang Korngold for going to work in the movies.

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New faces of 2014

Once upon a time, a man and a woman met. He could sing, she could sing. They fell in love, got married, and became a power couple to rival Billary.

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Hothouse flower

To some, Anne Schwanewilms will always be the soprano in the slinky black dress who replaced Deborah Voigt at Covent Garden a decade ago.

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