The Talk of the Town
The purely musical performance preserved here is thrilling, ratcheted to a higher intensity than the Deutsche Grammophon studio recording
Victoria de los Ángeles has always been my Violetta of choice, a portrayal that never ceases to move me.
I feel that the best years of Maria Callas’s vocalità, when we hear such a unique freedom and generosity in her singing, were captured in her early recordings.
Before the screams of horror begin, it says ‘favorite’, not best.
Elisabeth Grümmer was, of course, very good at Wagnerian prayers, but she also shines in this Verdi prayer.
The dictionary definition of Kuntenserven.
When I was a fledgling opera enthusiast, professors at a small-town Wisconsin college routinely travelled to Chicago for Lyric Opera performances.
Anna Tomowa-Sintow, “Ernani Involami,” from the MET Centenial Gala, 1983.
Like probably all of us, there are so many different things I could have submitted for a favorite Verdi performance.
I realize Igor Gorin did not sing much Verdi except for a few Papa Germonts, yet this performance of the famous baritone aria from Attila I claim is well-night perfect singing.
Luminous Lucia Popp’s “Caro Nome” beams with Gilda’s youthful passion, displaying Popp’s signature bright, beautiful timbre and magnificent coloratura.
While studying Un ballo in maschera for my Vienna role debut next January, I came across this beautiful ‘Ecco l’orrido campo’ amazingly performed by Montserrat Caballé.
“You’re your own boss.”
Hans Hotter masterfully captures the poignancy of this sublime Brahms Lied.
While refined, Lisa della Casa sings “Four Last Songs” deeply alert to the text and with effortless vocalization that sounds fresh and spontaneous.
Funnily enough, I’m not remotely a Rachmaninov fan, but this performance by Galina Vishnevskaya in her considerable prime always gives me the chills.
With youthful abandon, Ms. Feola interprets an old chestnut.
Mezzo-soprano Jamie Barton’s rendition of Jake Heggie‘s “Winged Victory: We’re Through,” vividly captures the song’s humor and energy.
This prompt of “favorite art song performance” seems just about as broad — and almost silly — a question as asking a painter what their favorite color is.
While I like both Erna Berger and Maria Stader’s versions, Erna Berger brings more drama to the rendition.
What I love most about Sergei Rachmaninoff‘s “Lilacs” is how beautifully it captures the quiet intimacy at the heart of art song.
Rosa Ponselle is the singer who had it all.
“Du bist die ruh” was one of the first art songs I ever knew.
Respighi‘s liriche can be as colorful, poetic, and downright lovely as any selection from other art song traditions. Case in point: Rosa Feola‘s recording of the first song from Quattro rispetti toscani.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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