Recent Stories
A woman unhappy with the Bolshoi Opera’s controversial staging of Ruslan and Ludmila was denied a one million ruble compensation bid by Moscow’s Tverskoi court on Monday.
Well, this looks pretty definitive.
Here’s a bit of good news for all you Traviata fans with tickets for tomorrow night’s Met performance or Saturday afternoon’s HD.
An understudy saved the show at the Met’s La Traviata Friday night, but no star was born.
Grand Tier Grab Bag
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.
My 600 performance life
Parterre Box acknowledges Riccardo Muti‘s 600th performance with the Chicago Symphony Orchestra by highlighting two of his favorite singers — under a different conductor.
Parterre Box acknowledges Riccardo Muti‘s 600th performance with the Chicago Symphony Orchestra by highlighting two of his favorite singers — under a different conductor.
Life imitates art
With Gustavo Dudamel in the spotlight at Parterre Box this week, Grand Tier Grab Bag foreshadows one of the New York Philharmonic’s upcoming operatic engagements.
With Gustavo Dudamel in the spotlight at Parterre Box this week, Grand Tier Grab Bag foreshadows one of the New York Philharmonic’s upcoming operatic engagements.
“Since no opera company in the U.S. has quite got up the courage to present a Herheim production, this webcast offers us a chance to sample this director’s unique style of Regie.”
Says the Met’s press office: “Hei-Kyung Hong will sing the role of Violetta Valéry in Verdi’s La Traviata at tomorrow’s performance, replacing Natalie Dessay, who is ill.” (Photo: Marty Sohl)
…and songs from her 2010 indie rock album Dark Hope.
Nicholas Hytner’s much-travelled and well received 1985 production of George Frideric Handel’s 1738 opera Xerxes has been released on DVD from Arthaus Musik, in a performance recorded live from the English National Opera in 1988.
Just in time for the beginning of the first cycle of the Robert Lepage Ring (pictured), Peter Gelb tries to convince Anthony Tommasini that everything is just fine, thank you…
La Cieca has just received a complete report from her spy at today’s open dress rehearsal of La traviata at the Met.
Certain contemporary opera directors have taken to portraying Wagner protagonists as visual artists to better illuminate the characters’ moral and aesthetic struggles.
Talk of the Town
A favorite Verdi performance from Darby Fegan
Anna Tomowa-Sintow, “Ernani Involami,” from the MET Centenial Gala, 1983.
Anna Tomowa-Sintow, “Ernani Involami,” from the MET Centenial Gala, 1983.
A favorite Verdi performance from CKurwenal
Like probably all of us, there are so many different things I could have submitted for a favorite Verdi performance.
Like probably all of us, there are so many different things I could have submitted for a favorite Verdi performance.
A favorite Verdi performance from La Grunowa
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.
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.
A favorite Verdi performance from Ryan Ellerman
Luminous Lucia Popp’s “Caro Nome” beams with Gilda’s youthful passion, displaying Popp’s signature bright, beautiful timbre and magnificent coloratura.
Luminous Lucia Popp’s “Caro Nome” beams with Gilda’s youthful passion, displaying Popp’s signature bright, beautiful timbre and magnificent coloratura.
A favorite Verdi performance from Marina Rebeka
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.
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.
Since wer’re already in a Massenetesque frame of mind, cher public…
Even if no one guessed the correct opera on our most recent Regie quiz, Our Own Batty Masetto did the next best or perhaps even better thing…
Here La Cieca has scarcely returned home from a very pleasant concert performance of Pipe Dream (feeble show, attractive songs, fine cast) and what should she find in her inbox but an alert from the Playbill Club.
The Wall Street Journal‘s Heidi Waleson is the latest to chime in with the “Manon must be an innocent virginal child” thesis, and La Cieca is uneasy about the implications of this line of reasoning.
Rusalka, in the marvelous production by Stefan Herheim, is now streaming live from La Monnaie.
When the hard-partying heroine of Massenet’s Manon hits bottom, she literally lands in the gutter.
Another grim narrative of the Gelb years, and one I think is generally hogwash, is that the Met has (at least in theatrical terms) lost its way entirely.
If it wasn’t anything special as art or even entertainment, Lyric Opera of Chicago’s recent production of Rinaldo (March 24) does offer an excellent peg on which to hang an argument about the future of opera in America.
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