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 »
I remember when the Willy Decker production of La Traviata was first announced at the Met. There was much pearl-clutching that it would limit casting to sopranos who could fit into the “little red dress” and also how the production was vulgar, cheap, scandalous, and Verdi was turning over in his grave. Read more »
Olga Peretyatko has officially left the chorus. The former member of the children’s choir at the Mariinsky Theatre in St. Petersburg is experiencing a meteoric rise, and for good reason. She has talent in spades and, fortunately, has elected to inject her energies into the bel canto repertoire. Read more »
Clemency tends to get a bad rap these days, as polities demand swift action by leaders whose mandates to govern are violently threatened by “terrorists.”
A Birnam Wood of Macbeths and Ladys has come traipsing through New York this year.
Die Meistersinger von Nürnberg is a problematic opera—or, rather, it is an opera that has, in the last century or so, become problematic.
The Little Opera Theater of New York (LOTNY) is presenting a double-cast run of two of Floyd’s early one-acts, Slow Dusk and Markheim.
Almost exactly twenty years after her auspicious Metropolitan Opera debut as the Fiakermilli in Arabella and a year following what she has claims was her final appearance on the operatic stage, Natalie Dessay returned Sunday afternoon to Lincoln Center—to sing opera.
What would you do if I asked you to take a old, faded version of Puccini’s score for La Bohème and fill in the unreadable parts with a mélange of disco, kabarett, and Alban Berg?
Heaven temporarily relocated to the Théâtre des Champs-Élysées Sunday evening for a concert performance of Rossini’s revered but rarely heard Semiramide.