Fine music-making meets a clunker of a production in La Monnaie‘s revival of Norma
A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
Buoyed by a cast of emerging stars, the Metropolitan Opera’s revival of Il Barbiere di Siviglia asserted a key trait of this ubiquitous buffo: it is a young person’s opera.
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
Roberto Alagna’s physical and vocal embodiment of Don José lent his particular narrative a complication I hadn’t anticipated.
The new cast at the Met suggested an alliterative retitling of Lucia di Lammermoor was needed—perhaps Lost Loonies in Love or its Italian equivalent?
It’s fortunate that the Met’s production of Luisa Miller featured the incomparable Piotr Beczala in the role of Rodolfo.
Even those of us who consider Guillaume Tell Rossini’s greatest opera understand why it has not been his most frequently staged.
When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
Our new correspondent Miss Laura Hope Cruisey finishes her report from Santa Fe. Everywhere we look there is Nicole Cabell – so exotic! Wow! Very interesting looking woman; and her new arias CD is the most advertised classical record around, and it is getting good reviews. She was kind of a Mrs. Obama on stage…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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