Recording Review
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
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Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
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In a splashy new recording of Norma, Marina Rebeka “is doing something very untoward, and it appears destructive to her voice.” It has Niel Rishoi worried.
As for complete recordings of Il trovatore, which was discussed at some length last week, there are at least 200 of them, both studio and live.
When my editor suggested to me a round-up of my favorite recordings of Jacques Offenbach’s Les Contes d’Hoffmann I was très, très, intrigued.
As revivals of the composer’s sprawling works represent a daunting expense for many opera houses, exceptionally cast recordings of such concert performances serve as valuable documents that foster appreciation for his achievements.
There were, of course, other Chénier recordings beyond the truly great ones…
Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.
In 1982 I saw Turandot at the San Francisco Opera, the year after I became an opera fan, and it was my first live opera.
Swiss soprano Regula Mühlemann made her New York recital debut at Weill Hall on May 8.
In the lead up to LA Opera’s mounting of Turandot on May 18th (hooray!) I thought I’d touch on some of my favorite recordings and new re-masters I’ve discovered. I have them all.
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
And what a luxury it is to experience this musically outstanding Parsifal with a cast of this caliber!
Leos Janácek’s rise to international prominence as a Titan of music was dovetailed by a cluster of profoundly original operas that were written during his extraordinary autumnal years.
We may all be armchair Handelians, but some of us are more used to it than others.
And what a sonically fascinating and vibrant Atys it is!
Marc-Antoine Charpentier and Thomas Corneille’s Médée is a monument of the 17th century French baroque lyric tragedy.
Perhaps the greatest souvenir of her art there is.
When our friends at Naxos and C Major announced near-dueling releases of Puccini’s “shabby little shocker,” I was ready with my critic’s pen dipped in bile.
This review attempts to capture my ecstatic reactions to Contra-Tenor, one of the greatest recordings I’ve ever heard.
Welcome, beloveds, to the Jessye Norman Memorial Museum. I’ll be the docent for your tour today.
Frankly I thought Sondra Radvanovsky had reached her pinnacle with her Norma but I was apparently mistaken. I’m happy to say her Turandot is completely next-level.
A stack of noteworthy recent baroque vocal CDs on my desk has been staring at me for weeks, so I’m tackling them on Handel’s birthday before the Met roars back into action beginning this weekend.
When I saw that Richard Bonynge AC CBE, conductor and musicologist supreme, had authored a book titled Chalet Monet about the home he shared with his wife, La Dame Joan Sutherland OM AC DBE, in Les Avants, Switzerland I practically had to wipe my chin.
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