First on the scaffold
On this day Dialogues des Carmélites had its world premiere at La Scala.
On this day Dialogues des Carmélites had its world premiere at La Scala.
For Mozart’s 262nd birthday on Saturday “Trove Thursday” celebrates with a crazy-quilt of his finest concert arias in live performances.
On this day in 1955 Rudolf Kempe made his Metropolitan Opera debut conducting Tannhäuser.
The Richard Strauss / Hugo von Hofmannsthal music drama Elektra premiered on this day in 1909 at the Semperoper, Dresden.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
On this day in 1958 soprano Inge Borkh made her Metropolitan Opera debut as Salome.
The Met’s season premiere of Verdi’s melodrama begins at 7:25 PM.
Jerold Offerman had spent the day readying the Algonquin Opera orchestra for a high-profile, high-stakes revival of Lucia, and things weren’t going well with the glass harmonica.
Out of a literal perforation in the horizon of the Nebraskan prairie emerges Proving Up, the most convincing case I have ever seen for modern American opera.
Get an early start today, cher public, with the 11:00 AM live video webcast of Die Walküre from the Bayerische Staatsopera.
Born on this day in 1897 ‘vocal miracle’ Rosa Ponselle.
Touting an austere, governessy program—the hour-and-change Schubert/Müller cycle, Die schöne Müllerin—Jonas Kaufman fulfilled his long-awaited, high-profile return to Carnegie Hall last night.
Happy birthday to Harry Rose, formerly known as Opera Teen, who is 20 years old today.
Opera originalist Heather MacDonald is at it again, describing Our Own JJ as “New York’s shrillest advocate for revisionist opera productions.”
La Cieca, right, suddenly realizes she forgot to post today’s chat.
On this day in 1967 Colin Davis made his Metropolitan Opera debut conducting Peter Grimes, with Jon Vickers, Lucine Amara and Geraint Evans in the cast.
Oh look, another critic who part-times as a necromancer!
On this day in 1984 bass Samuel Ramey, conductor Mario Bernardi and director Frank Corsaro made their Metropolitan Opera debuts in Handel’s Rinaldo.
Los Angeles Opera is the latest company to jump in on that cr-razy trend that sweeping the nation: boring the public to death.
In the midst of Tosca month “Trove Thursday” assembles from the 60s to the 80s an Il Trittico in which each opera features an important Italian star.
Good singing and a dramatically potent (if conservative) production were an unbeatable combination in the Metropolitan Opera’s season premiere of Donizetti’s L’Elisir d’Amore.
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