Cher Public

  • tatiana: I don’t usually set a lot of store by Tommasini, but his questioning of the update to the 1940s reminded me of a recent... 10:08 AM
  • Silver: Ah, if only production people would listen to the music. The score for LESCAUT is luscious. This production is awful. No singer... 10:06 AM
  • Krunoslav: This is shameful. The Newspaper of Record! “As Manon, the soprano Kristine Opolais sounded as glamorous as she... 10:05 AM
  • Krunoslav: ““She represents a new style of performer,” she said. “Which is the total performer. ” Just without a high-quality... 9:57 AM
  • marshiemarkII: Tommasini: http://www.nytimes .com/2016/02/15/ar ts/music/manon-les caut-roberto-alagn a-kristine-opolais .html?_r=0 9:54 AM
  • NPW-Paris: Bad news for all eels : “… every mountain an’ eel made low”. 9:52 AM
  • marshiemarkII: And darling Milady, how did the Sei tu che piangi sound on the radio? In the rehearsal it was simply stunning, but... 9:47 AM
  • marshiemarkII: Very interesting article on Opolais, does anyone know what that “dark past” is?!?!?!?!?!!? https://www.was... 9:42 AM

In the details

The saga of the Royal Opera’s production of Robert le Diable, infinitely more melodramatic than the plot of the opera proper, continues: “After much deliberation and consultation following the final rehearsals of Meyerbeer’s Robert le diable, it has been agreed between The Royal Opera and soprano Jennifer Rowley that the role of Isabelle would not be the right part for her debut at Covent Garden.” [Royal Opera]