Recent Stories
The forces of the Teatro La Fenice in a performance of Respighi‘s opera recorded last spring at Venice’s Teatro Malibran
Peter—may I call you Peter? It has come to our attention that you are seeking operas with “rich, melodic scores.”
Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars‘s new production of Rameau‘s Castor et Pollux in Paris.
This is an astonishing recording by one of the greatest singers of the 19th century.
An 1887 French grand opera by a Black American composer receives its world premiere with Opera Lafayette and OperaCréole next week and is raising questions about the potential of “restorative justice” in the operatic canon.
The Greatest Thing Ever (AKA Lisette Oropesa) in a stunning performance of “Martern aller Arten”
Are Beethoven’s symphonies overplayed? Yes, but for a reason. While this justification may sound cliché, Beethoven’s humanist universalism is a sentiment that feels urgent in an era of widespread polarization and pessimism.
Following last week’s multiple versions of three prime concert arias, Chris’s Cache concludes its Mozart month by offering more of those special vocal works, this time twenty-five arias for mezzo, tenor or bass, as well as more for soprano.
Grand Tier Grab Bag
Don’t cry because it’s over
Grand Tier Grab Bag hearkens back to the days when Sondra Radvanovsky — who is singing no Verdi at all next season — seemed like the Verdi soprano of reference.
Grand Tier Grab Bag hearkens back to the days when Sondra Radvanovsky — who is singing no Verdi at all next season — seemed like the Verdi soprano of reference.
Rizzin’ to the occasion
Parterre Box features the Met’s current Eugene Onegin, Iurii Samoilov, in a performance of Rossini ahead of a return to Pesaro this summer.
Parterre Box features the Met’s current Eugene Onegin, Iurii Samoilov, in a performance of Rossini ahead of a return to Pesaro this summer.
When they go low
Nostalgic for bass month, Parterre Box offers excerpts from two young basses to watch: Giorgi Manoshvili and Patrick Guetti.
Nostalgic for bass month, Parterre Box offers excerpts from two young basses to watch: Giorgi Manoshvili and Patrick Guetti.
Nailin’ the coughin’
Rosa Feola, still scheduled for a run of performances as Violetta in New York this spring, is the subject of this week’s Grand Tier Grab Bag.
Rosa Feola, still scheduled for a run of performances as Violetta in New York this spring, is the subject of this week’s Grand Tier Grab Bag.
Landing the plane
With Nixon, Klinghoffer, and Andris Nelsons on the mind, Parterre Box offers a recording of the Boston Symphony Orchestra’s recent John Adams outing.
With Nixon, Klinghoffer, and Andris Nelsons on the mind, Parterre Box offers a recording of the Boston Symphony Orchestra’s recent John Adams outing.
Le galant tireur
American tenor Charles Castronovo performs a bit of Weber’s Der Freischütz ahead of the opportunity to hear Berlioz‘s take on the score at Carnegie Hall next week.
American tenor Charles Castronovo performs a bit of Weber’s Der Freischütz ahead of the opportunity to hear Berlioz‘s take on the score at Carnegie Hall next week.
Never heard more beautiful runs than by Della Casa.
A message from CEO and General Director Piper Gunnarson and Board President Corey Kinger announces the closure of the innovative New York-based On Site Opera
William Christie curates an evening of French Baroque music in a live broadcast from Carnegie Hall.
Lise Davidsen and Michael Spyres, now in a live video broadcast from Vienna.
Despite the practically unmitigated fiasco of the last Verdi concert opera performance seen in Boston, I approached Sunday’s Boston Youth Symphony Orchestras performance of Don Carlo at Harvard’s Sanders Theatre with much more optimism.
Idomeneo from the 2022 Aix festival. A wacky production, with those moving towers, but the cast is outstanding: Michael Spyres (Idomeneo), Anna Bonitatibus (Idamante), Sabine Devieilhe (Ilia), Nicole Chevalier (Elettra); Raphaël Pichon, Conductor.
One of the most purely gorgeous voices I’ve ever heard live.
Mozart: Zaide, K.344 / Act 1: “Ruhe sanft, mein holdes Leben” · Lucia Popp · Vienna Haydn Orchestra · István Kertész from Mozart Opera Festival ? 1972 Decca Music Group Limited
Talk of the Town
A favorite Verdi performance from Lou Ann Darras
I have very few opportunities to see real-life opera divas, but when Natalie Dessay chose to debut her first Traviata at Santa Fe, there was no way I was going to miss it.
I have very few opportunities to see real-life opera divas, but when Natalie Dessay chose to debut her first Traviata at Santa Fe, there was no way I was going to miss it.
A favorite Verdi performance from Astyanax
The air held a real charge that night in SF’s War Memorial Opera House.
The air held a real charge that night in SF’s War Memorial Opera House.
A favorite Verdi performance from Ivy Lin
This is one of those rare performances that makes you believe that everything Verdi was greater Way Back When.
This is one of those rare performances that makes you believe that everything Verdi was greater Way Back When.
A favorite Verdi performance from Mister Snow
Nothing prepared me for the Soviero experience
Nothing prepared me for the Soviero experience
A favorite Verdi performance from Tildy Diva
A well-known Met Aïda with a starry cast from 1967 is TildyDiva’s Favorite Verdi Performance
A well-known Met Aïda with a starry cast from 1967 is TildyDiva’s Favorite Verdi Performance
A favorite Verdi performance from Arrigo
My favorite Verdi performance is Claudio Abbado Don Carlo opening of the Scala.
My favorite Verdi performance is Claudio Abbado Don Carlo opening of the Scala.
A live broadcast of a new production from the Deutsche Oper Berlin.
A live video broadcast from Reggio Emilia featuring rising stars Annalisa Stroppa and Benedetta Torre.
A live performance starring Lise Davidsen and Michael Spyres
One of my most favorite pieces is Barbarina’s delightful opener to Act IV of Le nozze di Figaro, “L’ho perduta, me meschina!” from the recording conducted by Otto Klemperer.
John Yohalem reports from the New York Dramatic Voices performance of Act III of Die Walküre
Though I’ve sometimes complained that the Paris Opera, while supposedly short of cash, changes its productions nearly as often as the rest of us change our socks, André Engel’s Cunning Little Vixen first appeared there 17 years ago. At the time it was billed as ‘new’, though it actually dates back further still, to 2000 at the Lyon Opera. I saw it when it arrived at the Bastille and wrote it up at the time.
Carmen Giannatasio sings her first Minnie, under Riccardo Frizza, in a live broadcast from Bologna.
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