As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Anyone arriving at Lyric Opera of Chicago’s production of Rossini’s Cinderella (La Cenerentola) expecting the Disney-fied version of the story will be in for a surprise.
I’ve never had a better time in an opera house.
In spite of the fact that Rossini and his librettist Jacopo Ferretti removed all the magical elements from the story, therefore making it far easier to produce, there was more than enough enchantment in the singing, and intermittently in the production to enjoy.
Live opera returns to Lincoln Center when Teatro Nuovo presents Il Barbiere di Siviglia on July 27 and 28.
One of the more unfortunate losses from the Met’s closure is its revival of Simon Boccanegra, so Trove Thursday steps up with a 1975 Berlin performnace of Verdi’s dark masterpiece with Ingvar Wixell, Gundula Janowitz, José van Dam and Bruno Prevedi.
It’s an old chestnut of a joke that applies even more to opera than to the theatre: A veteran actor is on his deathbed.
L’Italiana in Algeri‘s appearance at the Salzburg Festival should be no surprise since Ceciila Bartoli has been the intendant of the Whitsun Festival extension at Salzburg since 2012.
La Fille du Régiment, Donizetti’s half-spoken ode to La France about a girl raised by a division of daddies, is at once infamous and beloved for the string of nine high C’s capping act one.
“Trove Thursday” turns its Rossini-150 series to one of the composer’s least known but tastiest comic gems La Pietra del Paragone with Julia Hamari, Justino Diaz, Alessandro Corbelli, Claudio Desderi and Paolo Barbacini conducted by Roberto Abbado.
As portrayed by Vittorio Grigolo, Nemorino was a manic self-absorbed, probably bipolar, stalker who—against all odds and good sense—gets the poor girl.
Emilio Sagi’s production of The Barber of Seville is ungepotchket in the flesh.
This “new-to-Chicago” production is a sheer pleasure from beginning to end.
James Conlon, Music Director for the LA Opera, often does the pre-game lecture in the huge open space on the second floor lobby of the Dorothy Chandler Pavillion and it’s almost always a standing room only crowd.
It appears that Mariame Clément’s conception of Don Pasquale is that the opera should be retitled Malatesta.
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
The 19th century could not cope with Così fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers) with a libretto by Lorenzo da Ponte and music by Mozart, first presented in Vienna in 1790.
The diva must be a Diva in Adriana Lecouvreur. Fact.
L’elisir d’amore, Donizetti’s evergreen comedy about young love, returned to the Met last night with a strong cast, a high energy level from all the performers, and last but not least, a very full house.
I saw the final dress rehearsal of Adriana Lecouvreur at the Royal Opera House on Monday this week, and I think I have never seen the place so crowded for such an event. No wonder, for here was a cast you might dream of, in a highly finished piece of work mounted by one of…
Halfway through the overture to L’italiana in Algeri a pin-up cartoon of our Isabella, Jennifer Larmore, slowly slides up and down a pole, setting the tone for the whole opera. Cartoonish is indeed the first adjective that springs to my mind when trying to describe this 1998 production of Rossini’s opera buffa from the Opéra…
It took the Metropolitan Opera decades to catch up with the rest of the world and finally stage La Cenerentola. Gioachino Rossini’s opera buffa, one of his most beloved and accomplished works, received its belated Met debut in 1997, amidst legitimate suspicions that the new production was less a genuine desire to add a belcanto…
[Our Own Gualtier Maldè reports from this afternoon’s dress rehearsal of La Fille du Régiment] The Met has another hit on its hands — though not a totally new one, this production and cast already having triumphed at Covent Garden and the Vienna Staatsoper. Laurent Pelly (who vies with Davide Alagna and Mark Streshinsky as…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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