Niel Rishoi

Third bass-baritone Third bass-baritone

Next Marko Mimica discussed which music “reached” him most and how he regards expressing himself in various languages.

on May 31, 2018 at 10:00 AM
Bass-baritone instinct Bass-baritone instinct

Next, I asked Marko Mimica which basses he prefers to listen to on recordings.

on May 30, 2018 at 10:45 AM
All about that bass-baritone All about that bass-baritone

In Bellini’s opera Norma, the “padre” role of Oroveso, it may be safely said, is “undistinguished”—dull and conventional. The bass entrusted with the role usually will engender two reactions: more frequently than not, “Cut this boring music,” and rather more rarely: “What a pity Oroveso doesn’t have more music.”   

on May 29, 2018 at 9:00 AM
Fan mail to La Nilsson Fan mail to La Nilsson

On the occasion of the hundredth anniversary of your birth, I am perplexed as to what to write about you that isn’t of the highest, most ecstatic praise and of deliriously effusive encomiums.

on May 24, 2018 at 1:00 PM
Talking to John Raitt, part three Talking to John Raitt, part three

In the final installment of this interview, the star discusses the enduring appeal of Carousel.

on May 17, 2018 at 9:00 AM
Talking to John Raitt, part two Talking to John Raitt, part two

In the third part of this interview with John Raitt, the singer speaks in great detail how he was cast in his breakthrough role of Billy Bigelow in Carousel.

on May 16, 2018 at 9:00 AM
Talking to John Raitt, Part One Talking to John Raitt, Part One

How did you first grow interested in singing?

on May 15, 2018 at 9:00 AM
The Raitt stuff The Raitt stuff

Never in my wildest dreams did I imagine I would be having lengthy telephone conversations with John Raitt. 

on May 14, 2018 at 9:00 AM
Prodigy Prodigy

Maria Callas’s most outstanding Adalgisa, out of all she partnered with, was Fiorenza Cossotto.

on May 07, 2018 at 9:14 AM
Burnished bass Burnished bass

I clearly remember the day I first heard the voice of Cesare Siepi.

on April 23, 2018 at 12:38 PM
The trouble with Norma The trouble with Norma

If one looks at trends in the last 40 or so years, the most successful Normas are mainly those who’ve made not just bel canto, but Bellini as a mainstay in their repertoire.

on April 11, 2018 at 8:00 AM
The priestess with the mostest The priestess with the mostest

Edita Gruberova takes on the requirements of the title role in Bellini’s Norma.

on April 10, 2018 at 8:00 AM
Elements of style Elements of style

Edita Gruberova essentially revived and propagated the bel canto repertoire in central Europe, specifically in the German-speaking countries.

on April 05, 2018 at 9:00 AM
Laughing song Laughing song

It can be confidently asserted that Edita Gruberova is one opera’s most gifted comediennes. 

on March 28, 2018 at 11:58 AM
Sie ist eine Meisterin im Improvisieren! Sie ist eine Meisterin im Improvisieren!

No 50th anniversary career tribute would be complete without covering Edita Gruberova’s legendary status as the premier Zerbinetta of her long reign in the role!

on March 20, 2018 at 1:26 PM
Königin of Mozart Königin of Mozart

The third installment of my 50th anniversary tribute to Edita Gruberova was impossible to narrow down to one selection.

on March 10, 2018 at 7:47 AM
The first time ever I heard her voice The first time ever I heard her voice

The Summer of 1983 is when “it” happened.

on February 25, 2018 at 10:00 AM
Sì bella, sì pura, del ciel creatura Sì bella, sì pura, del ciel creatura

In observance of Edita’s Gruberova’s 50th anniversary in opera, I would like to offer a series of commentaries, over successive days, of my favorite performances.

on February 19, 2018 at 11:51 AM
Sgombra è la sacra megaplex Sgombra è la sacra megaplex

I suspect that David McVicar’s new production of the Metropolitan Opera’s Norma had its most congenial showing as a totality, specifically in the HD format at the movie theater.

on October 09, 2017 at 8:00 AM
“He was sort of the Brando of music” “He was sort of the Brando of music”

Rest in peace, dear Albert.

on September 28, 2017 at 8:30 AM
Screen queen Screen queen

This season’s Met Donizetti Tudor Trilogy concluded with Roberto Devereux, given its penultimate performance by HD transmission Saturday, April 16. It is good to see these works finally given here; they are too important, too crucial a part of the operatic repertory to have been ignored for as long as they have. 

on April 25, 2016 at 11:00 AM
Roberto Devereux: Tragedy Mirrored Roberto Devereux: Tragedy Mirrored

By the time Roberto Devereux saw its premiere at Napoli’s Teatro San Carlo on 29 October, 1837, Gaetano Donizetti had lost, in an 18-month time frame, both his parents, two still-born children, and his beloved wife Virginia.

on March 23, 2016 at 9:00 AM