Antonio Pappano is a great opera conductor
Antonio Pappano‘s versatility in both German and Italian repertoire and beyond is both rare and impressive.
Antonio Pappano‘s versatility in both German and Italian repertoire and beyond is both rare and impressive.
Whether an opera by Puccini, Verdi, Wagner, Strauss, or Berg, Dimitri Mitropoulos brought to the podium a total understanding and love for each score he touched.
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
I am once again going to laud the classic Rudolf Kempe commercial recording of Lohengrin (which I have lauded overall) for its conducting.
Roger Norrington conducted Rossini’s Semiramide in Pesaro ’94 and made the Orchestra part of the drama in a way I still have never heard duplicated in a Bel Canto opera.
Zany gags keep Zar und Zimmermann zipping along at the Deutsche Oper Berlin.
One Italian soprano continues to save the day in bel canto roles at La Scala; this week Parterre Box features Marta Torbidoni.
Many years ago, when the Met was deciding who the next principal conductor/music director was going to be, it seemed to be a tie between YN-S and Fabio Luisi.
Pierre Monteux‘s career defies time.
A grandly sung revival of The Ballad of Baby Doe at Central City Opera mines poignance from America’s past and present.
Daniel Barenboim’s Tristan und Isolde is a performance I keep coming back to, again and again.
I first experienced the magic of Seiji Ozawa in 1972 when I was 12 years old.
Ambur Braid‘s biggest dramatic soprano assignment yet — the Dyer’s Wife in Aix — is occasion for Parterre Box to feature her in some of her old repertoire.
Fausto Cleva, in this glorious Fanciulla from the old Met, demonstrates all the great skills of opera conducting
A Pasolini-inspired Tosca at La Monnaie does not quite find the pleasure in the pain.
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