As I gloried in Mariella Devia’s triumphant 2014 Opera Orchestra of New York’s concert performance of Roberto Devereux at Carnegie Hall, I assumed it would be my last opportunity to hear the soprano live. I had contented myself knowing that the spectacular High D natural that capped her “Quel sangue versato” would be a fitting coda to my history with the singer. Read more »
Kevin Fullerton
Ah, finalmente! Thrice I have been denied access to Rome’s beautiful Teatro dell’Opera di Roma–thanks to two strikes and one unexpected venue change. Lots of coins into the Trevi Fountain, return trips to Rome, and then last Saturday, a fourth attempt at Teatro dell’Opera—and finally satisfying success! Read more »
Ne Quittez Pas, director James Darrah’s new site-specific reimagining of Poulenc’s 1958 monodrama La voix humaine, adds a cabaret-style prologue of Poulenc art songs on texts by Guillaume Apollinaire and others, as well as additional poetry by both Apollinaire and Cocteau, expanding the one-act monologue to an evening-length presentation. Starring as La voix humaine’s sole character is Grammy-winning powerhouse soprano Patricia Racette, with the prologue sung by Edward Nelson, praised by Bachtrack for a “ringing baritone” that is “a thrill to listen to.” The production is led by music director and pianist Christopher Allen, winner of the 2017 Sir George Solti Conducting Award. Read more »
In military jargon “collateral damage” describes incidental death, maiming, or damage inflicted on an unintended target during a legitimate military attack. But last evening’s scorching performance of Fallujah by the New York City Opera demonstrated that sometimes the impact is not limited by physical proximity. Read more »
Miss Battle was greeted with a thunderous ovation befitting a beloved singer at the end of an illustrious career.
I was hopeful that my next operatic engagement would offer greater rewards: Norma at the Edinburgh Festival.
Cher Public