Where does that heat come from? Where does that heat come from?

On this day in 1940 Louisiana Purchase (a musical comedy with the unlikely subject matter of political corruption under the administration of Governor Huey Long) opened at the Imperial Theatre, to run 444 performances.

“Art is love times love” “Art is love times love”

Born on this day in 1911 actor and bon vivant Vincent Price.

Give Paris one more chance Give Paris one more chance

Pavarotti and Freni are gone but the Franco Zeffirelli Bohème remains. 

Reminiscences of Mozart Reminiscences of Mozart

The great Spanish mezzo soprano Teresa Berganza died on May 13 at the age of 89, so Trove Thursday salutes one of its favorites with a pair of dazzling rare live Mozart performances.

I light up when you call my name I light up when you call my name

Born on this day singer and songwriter Peggy Lee.

Clap your hands, baby! Clap your hands, baby!

Happy 79th birthday to songstress and actress Leslie Uggams.

La bohème La bohème

Eleonora Buratto, fresh off a successful run in the title role of Madama Butterfly, stars as the ill-fated seamstress Mimì, opposite Matthew Polenzani as her lover, the poet Rodolfo.

Ring my bell Ring my bell

The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.

This very minute has history in it This very minute has history in it

On this day in 1966 Jerry Herman‘s Mame opened at the Winter Garden Theatre, to run 1,508 performances.

Spaced out Spaced out

Before Wednesday I don’t remember gasping when I entered a concert venue.

Somewhere in Egypt Somewhere in Egypt

We open in a war room that resembled nothing so much as a parking garage. Amneris’s boudoir was certainly recognizable as such but I’d be hard-pressed to pinpoint the location of the Triumphal Scene other than the inside of a large discothèque.

The most dangerous dame The most dangerous dame

Happy birthday Dame Joan Collins, who is 89 years young today.

The girl with the million dollar face The girl with the million dollar face

Happy 80th birthday to actress, photographer and activist Barbara Parkins.

Lucia di Lammermoor Lucia di Lammermoor

Riccardo Frizza conducts Nadine Sierra (Lucia), Javier Camarena (Edgardo), Artur Rucinski (Enrico) and  Christian Van Horn (Raimondo.)

There wouldn’t be signs big enough There wouldn’t be signs big enough

On this day in 1959, Ethel Merman bellowed “Sing out, Louise!” into a Broadway theater for the first of 702 times, as the world’s greatest musical (per La Cieca) sprang forth.

Como crosses over Como crosses over

I feel that any singer attempting crossover would do well to listen to Perry Como to hear how it should be done.

Reviving a pharaoh Reviving a pharaoh

The Met brought back 2019 smash Akhnaten last night, with nearly the exact same cast and creative team, and with nearly the same knockout effect of three years ago.

Goddess of Pop Goddess of Pop

Happy 76th birthday to mean, moody, mononymous Cher.

Akhnaten Akhnaten

A return of the Philip Glass classic, live from the Met.

The many faces of Perry Como The many faces of Perry Como

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.”

The Multiverse of Morley The Multiverse of Morley

A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.

“I lost control” “I lost control”

Happy 74th birthday model, singer and actress Grace Jones.

Perry Como: a Postscript Perry Como: a Postscript

In observation of the 110th birthday of Perry Como, May 18, 1912.

Resisting the recognizable Resisting the recognizable

It was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.