The Broad Stage presented Joseph Calleja in their Celebrity Opera Series May 10 with a concert called A Tribute to Mario Lanza. The Maltese tenor cites the famous matinee idol as an early inspiration from the time he saw The Great Caruso when he was 14 years old. Read more »
You are unlikely ever to hear Rimsky-Korsakov’s last opera sung in French, yet the piece, Zolotoy pyetushok (translated as The Golden Cockerel in English, folks around here being wary for some reason of calling it The Golden Rooster) is best known in these parts as Le Coq d’Or, which recalls its Met debut (1918, in French, on a double bill with Cavalleria Rusticana, in Sicilian) and nine subsequent Met seasons in that language. Read more »
If everything you see is great, you are either new to opera or chronically easy to please. Neither condition is anything of which to be ashamed, but the development of standards over a period of years is something to be embraced. Standards make it mean more when something really is worth raving over. Read more »
The cultiest of cult musicals, an All-American take on the Iliad and the Odyssey, the spectacularly witty Golden Apple of John Latouche (words) and Jerome Moross (music), opened Off Broadway in 1953 to some acclaim.
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
Going into Washington National Opera’s final presentation of the season, Madama Butterfly, I feared that I might be geisha’d out.
W.C. Fields used to have a funny trope about in show business you should never work with children or animals. To that list should perhaps be added the soprano Anna Netrebko.
Antonio Literes, a boy soprano from Majorca, had, we may presume, friends in high places.