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.
Klaus Mäkelä unexpectedly joins the foray for The Cleveland Orchestra‘s performances of Benjamin Britten’s War Requiem.
Bluebeard’s Castle and Erwartung at Canadian Opera Company deliver on fine performances even if Robert Lepage‘s production skimps on horror.
“You’re your own boss.”
Nostalgic for bass month, Parterre Box offers excerpts from two young basses to watch: Giorgi Manoshvili and Patrick Guetti.
Hans Hotter masterfully captures the poignancy of this sublime Brahms Lied.
Barbara Hannigan mesmerizes as both a brilliant vocalist and a proficient opera conductor in a double bill of Strauss and La voix humaine with the New York Philharmonic.
While refined, Lisa della Casa sings “Four Last Songs” deeply alert to the text and with effortless vocalization that sounds fresh and spontaneous.
Opera Baltimore concludes its season with a piercing semi-staged production of Pelléas et Mélisande.
Funnily enough, I’m not remotely a Rachmaninov fan, but this performance by Galina Vishnevskaya in her considerable prime always gives me the chills.
Opera San José‘s La Traviata has all the buzz and energy of a world premiere.
With youthful abandon, Ms. Feola interprets an old chestnut.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
Mezzo-soprano Jamie Barton’s rendition of Jake Heggie‘s “Winged Victory: We’re Through,” vividly captures the song’s humor and energy.
Gregory Spears’s Sleepers Awake mystifies and delights at Opera Philadelphia.
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