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La Cieca has obtained a letter from the Met’s Assistant General Manager, Artistic informing artists arriving in New York from certain high-risk areas they are subject to a two-week quarantine before rehearsing or performing.
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This just in from the Met press office: “After a fall last week that damaged one of his vertebrae, James Levine underwent emergency surgery on Thursday in New York, forcing him to withdraw from his performances at the Metropolitan Opera this fall…. While Levine will continue in his position as Music Director, Fabio Luisi has…
Intern JJ here, ready to go with live coverage of the Met’s 2010-2011 press announcement, which will begin in about 30 minutes. See you there, cher public! Latest coverage begins after the jump.
Happy was I to attend the Celebrity Opera Series presentation Saturday night at BroadStage, mere blocks from my humble abode in Santa Monica as Anglela Gheorghiu was making an eagerly awaited return for the first time since her debut here in 2013.
Karim Sulayman’s intentions are to demonstrate links and roots, in themes musical and poetic, crossing every boundary of culture, religion, nationality, genre.
You can imagine my surprise at encountering an almost wholly traditional staging with one teensy difference.
In the lead up to LA Opera’s mounting of Turandot on May 18th (hooray!) I thought I’d touch on some of my favorite recordings and new re-masters I’ve discovered. I have them all.
Émigré, unfortunately, fails to do justice, either musically or theatrically, to this group of refugees or to the Shanghainese who took them in.
Phil Chan described his point of departure for reimagining Orientalist works as the question, “what else could this be?”
Before rehearsals for Madama Butterfly started, Phil Chan sat down with the box to chat about his production, opera’s cultural appropriation problem, and why the last thing he’s trying to do is cancel Puccini.
“A Concert for Sugihara”—presented at Carnegie Hall by New York City Opera and The American Society for Yad Vashem on Wednesday, April 19—marked 80 years since the Warsaw Ghetto Uprising.
Do you ever wonder how easy it is to invent a Christmas tradition?
In George Balanchine’s Allegro Brillante, the dancers are dancing even before the curtain goes up.
Robert Carsen‘s legendary production of Eugene Onegin finally arrives in San Francisco.
Despite the diminishing returns of her vocal means, Edita Gruberova‘s last years of her career were if anything more successful than ever.
I feel that any singer attempting crossover would do well to listen to Perry Como to hear how it should be done.
Artistic temperament she had, but not including self-centered megalomania. She was one of the most fully human individuals I have ever known.
The sonic wizards of the Netherlands at Pentatone have released their latest in the series of Maestro Lawrence Foster’s studio opera recordings. Reunited with his Lisbon forces, the Gulbenkian Orquestra and Coro, for a fresh take on Puccini’s three-hanky weeper.
You know in some of those old Jeanette MacDonald movies where she plays a prima donna and receives applause in a public setting? That’s just what happened when the three of us walked into that restaurant, one patron calling out “Brava!”
Steve adored puzzles, solving them and creating them, so it makes you wonder that this one continued to fester—was that so few of his songs attained the rank of “standard.”
I proposed to Edita that we turn my 20-page paper into a book, a musical biography.
In anticipation of the Met’s reopening performance on September 11, another serving of pandemic-hoarding arrives on Trove Thursday with 10 rare live performances of the Verdi Requiem’s concluding “Libera me.”
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