Kevin Ng
Il trovatore may be famous for its melodramatic plot and unlikely mistaken identities, but surely even Verdi and Cammarano couldn’t have imagined the chaos of a performance featuring two Manricos and two Leonoras.
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I’m old enough to remember when Yannick Nézet-Séguin could do no wrong.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
Not in my wildest dreams could I have come up with anything more homosexual than the sight of Almodóvar muse Rossy de Palma in a stage-length wedding gown onstage Madrid’s Teatro Real.
“The mystery of her voice gripped my soul,” Sharpless tells Pinkerton at the beginning of Puccini’s Madama Butterfly. One could say the same thing of Aleksandra Kurzak’s remarkable portrayal of the title role, the main reason to catch the Met’s latest revival.
Nothing says “diva” like an insane recital program.
To paraphrase Terence Blanchard’s Champion, what makes an opera an opera?
I wish more sopranos programmed recitals like Fatma Said does.
It doesn’t get more classic than John Dexter‘s Dialogues des Carmélites.
The main reason to see this revival is Benjamin Bernheim’s Duca.
Sponsored
Win tickets to Piotr Beczala at Carnegie Hall!
pb—with our friends at Carnegie Hall—is giving away two tickets to PB’s December concert. Enter now!
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