critics and their criticism
A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore. Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.
By Dawn Fatale
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Arts Council England, as a global policy trendsetter, may have sounded the death knell for the international opera industry as we know it.
One wonders whether an obsession with metrics and measurement has the potential to create arts organizations that are more preoccupied with finding systems that quickly and efficiently tick the Arts Council’s boxes than with creating meaningful, impactful art.
“Opera needs a reset. We think there needs to be a fundamental shift in the ecology.”
Edita Gruberová was one of the most fascinating individuals I have ever known.
By Niel Rishoi
Edita Gruberova considered her greatest pride and loves not her career but her daughters Klaudia and Barbara and grandchildren Cris, Denis, and Alyssa.
By Niel Rishoi
Despite the diminishing returns of her vocal means, Edita Gruberova‘s last years of her career were if anything more successful than ever.
By Niel Rishoi
These are my findings and opinions (and I welcome rebuttals)!
By Niel Rishoi
The worst criticism perhaps was the gleeful Schadenfreude noting Edita’s voice wasn’t as under her command as it used to be.
By Niel Rishoi
I feel that any singer attempting crossover would do well to listen to Perry Como to hear how it should be done.
By Niel Rishoi
To give an idea of how well Perry Como was able to “assume” different vocal identities, here he is doing his mega #1 1953 hit, “Don’t Let The Stars Get In Your Eyes.”
By Niel Rishoi
In observation of the 110th birthday of Perry Como, May 18, 1912.
By Niel Rishoi
Has there ever been a more perfect opera to watch after a breakup than Ariadne auf Naxos?
In any case, we are now in the Queen’s garden of the Palace in Madrid. It is the day before the coronation of King Philip. Coronation? What coronation?
By Andrew Knapp
