Remember that time you went to the opera and the entire evening was perfection? Yeah, me neither: you get so close but there’s always something that detracts from total glory. My remembrances of LA Opera’s production of Bellini’s Norma will have no such detractions since the flaws in the performance where so minor compared to the whole I can easily dismiss them. Read more »
I’m giving my age away here by saying that I am unfortunate enough to remember how Rudy Giuliani would sometimes drop by the Met airwaves and claim he was a “huge” opera fan. The most mild inquiries revealed that his knowledge of opera started at La traviata and ended at La bohème. But there is a sizable portion of opera audiences who only like the bread and butter Italian operas, and the annual Richard Tucker Gala is probably the event of the year to indulge your love of verismo staples and can belto screaming. Read more »
The celebration of 50 years of the Mostly Mozart Festival at Lincoln Center includes “The Illuminated Heart,” a theatrical fantasy of Mozart operas and ensembles featuring Christine Goerke, Ana María Martínez, Matthew Polenzani and Peter Mattei; plus staged concerts of Così fan tutte and Idomeneo. Tickets and more information are at MostlyMozart.org. Read more »
“This throwback to the golden age of opera—superhuman singing greeted with frenzied ovations—was a function of a perfect storm of excitement: a performance of Verdi’s 1853 spellbinder to rank with one’s rosiest recollections of past glories, in combination with a poignant human story that left both cast and audience dissolved in tears.” [New York Observer]
The Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.
Mezzo-of-the-moment Jamie Barton’s future Met assignments include . . .
In a decision La Cieca doesn’t think anybody is going to dispute, the Richard Tucker Foundation has named mezzo-soprano Jamie Barton their 2015 award winner.
Having heard a bit of the opening night broadcast and read some decidedly mixed reviews, I was totally unprepared for the remarkable performance of Donizetti’s Anna Bolena that I attended on December 15 at Chicago Lyric Opera.
Far be it from me to join the Schadenfreudian chorus of “Bye, Bye, Berti!” you may have been hearing in certain quarters, but the first thing I am duty-bound to report about San Francisco Opera’s Norma (of which three performances remain) is that they’ve hit the jackpot, coverwise.
Jamie Barton will make her San Francisco Opera debut as Adalgisa in Norma for five of the opera’s seven performances on September 5, 10, 14, 27 and 30. Ms. Barton replaces Daveda Karanas, who has withdrawn from the production for personal reasons.