Niel Rishoi
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.
By Niel Rishoi
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In the final installment of this interview, the star discusses the enduring appeal of Carousel.
By Niel Rishoi
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.
By Niel Rishoi
How did you first grow interested in singing?
By Niel Rishoi
Never in my wildest dreams did I imagine I would be having lengthy telephone conversations with John Raitt.
By Niel Rishoi
Maria Callas’s most outstanding Adalgisa, out of all she partnered with, was Fiorenza Cossotto.
By Niel Rishoi
I clearly remember the day I first heard the voice of Cesare Siepi.
By Niel Rishoi
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.
By Niel Rishoi
Edita Gruberova takes on the requirements of the title role in Bellini’s Norma.
By Niel Rishoi
Edita Gruberova essentially revived and propagated the bel canto repertoire in central Europe, specifically in the German-speaking countries.
By Niel Rishoi
It can be confidently asserted that Edita Gruberova is one opera’s most gifted comediennes.
By Niel Rishoi
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!
By Niel Rishoi
The third installment of my 50th anniversary tribute to Edita Gruberova was impossible to narrow down to one selection.
By Niel Rishoi
The Summer of 1983 is when “it” happened.
By Niel Rishoi
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.
By Niel Rishoi
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.
By Niel Rishoi
Rest in peace, dear Albert.
By Niel Rishoi
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.
By Niel Rishoi
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.
By Niel Rishoi
