Have a napkin, have a chopstick, have a chair Have a napkin, have a chopstick, have a chair

From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.

An die Offnung zu kommen An die Offnung zu kommen

Born on this day in 1929 conductor Bernard Haitink

Si je t’aime, <em>Carmen</em>, tu m’aimeras? Si je t’aime, <em>Carmen</em>, tu m’aimeras?

On this day in 1875 Bizet‘s Carmen has its disastrous premiere at the Opéra Comique in Paris

Ernani Ernani

Thomas Schippers conducts Carlo Bergonzi, Leontyne Price, Cornell MacNeil, and Giorgio Tozzi in a broadcast from 1962

Animal Farm Animal Farm

All animals are equal, but some are more equal that others in a live video relay of Alexander Raskatov‘s new opera from Vienna with Gennady Bezzubenkov, Wolfgang Bankl, Michael Gniffke, Andrei Popov, Stefan Astakhov, Karl Laquit, Artem Krutko, and Margaret Plummer and conducted by Alexander Soddy

Second time as farce Second time as farce

On this day in 1989 Ken Ludwig‘s play Lend Me A Tenor opened on Broadway

Divine mother Divine mother

What does it mean to be a “gender transcendent diva?”

Sack of Rome Sack of Rome

Finding Britten’s The Rape of Lucretia on the Academy of Vocal Arts calendar was both a pleasure and something of a surprise—the latter because the work is far from central repertoire, even in a conservatory.

O Lucine di quest’anima O Lucine di quest’anima

Happy 100th birthday soprano Lucine Amara

Decidedly un-HIP Decidedly un-HIP

Chris’s Cache celebrates Ewa Podles‘s long connection with Handel by featuring her in three complete, decidedly un-HIP operas spanning over twenty years

À ce mot seul s’anime et renaît la nature À ce mot seul s’anime et renaît la nature

On this day in 1836 Meyerbeer‘s Les Huguenots premiered in Paris

Turandot Turandot

Metropolitan Opera debuts for Oksana Lyniv and Elena Pankratova in a live broadcast from New York also featuring Aleksandra Kurzak, SeokJeongBaek, and Vitalij Kowaljow

Destiny’s child Destiny’s child

While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.

Ballet of the dolls Ballet of the dolls

On this day in 1910 prima ballerina Anna Pavlova made her debut at the Metropolitan Opera in Coppélia (on a double bill with Werther!)

Farà di capello al bravo uffizial Farà di capello al bravo uffizial

In anticipation of a full review, cher public is invited to weigh in on the lamentable perruque situation in this season’s new forza

Small but mighty Small but mighty

One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.

Morbidezza curiosity Morbidezza curiosity

Born on this day in 1935 soprano Mirella Freni

La forza del destino La forza del destino

Yannick Nézet-Séguin conducts the opening night of a new production with Lise Davidsen, Brian Jadge, Judit Kutasi, Igor Golovatenko, Patrick Carfizzi, and Soloman Howard

Katya, later Katya, later

Leos Janácek’s rise to international prominence as a Titan of music was dovetailed by a cluster of profoundly original operas that were written during his extraordinary autumnal years.

Having a hunchback Having a hunchback

Born on this day in 1802 author and playwright Victor Hugo

Duke it out Duke it out

On this day in 1948 tenor Giuseppe di Stefano made his Metropolitan Opera debut at the Duke of Mantua

Mozart and Beethoven in Concert at the Met Mozart and Beethoven in Concert at the Met

Yannick Nézet-Séguin conducts a 2023 performance of Mozart’s Requiem with Golda Schultz, Emily D’Angelo, Dmytro Popov, Vladyslav Buialskyi and a 2022 performance of the finale of Beethoven’s Symphony No. 9 with Elza van den Heever, Jamie Barton, Piotr Beczala, and Ryan Speedo Green

Vassallo della man Vassallo della man

Born on this day in 1934 soprano Renata Scotto

Private tudoring Private tudoring

Anna Bolena is one of the many works by Donizetti which, after their modern recovery in the second part of the last century, have both never fully left the stage while simultaneously never becoming a repertoire staple Lucia di Lammermoor or L’elisir d’amore.