9 pieces since 2013 — in 5 roles, at 3 companies, most often at Teatro Real.
Say what you will about Naxos, but this company has created a sizeable number of recordings of works on the periphery of the standard repertory and have managed to document quite a few interesting singers in the bargain-and at bargain prices.
The beautiful singing here is less in the sound than in the way the voice moves.
Teatro Real continued their 200 years’ celebration by premiering a piece that they have never done before, Francesco Cavalli’s opera La Calisto.
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
Verdi’s Rigoletto returned to the Met Friday in the stilted “Las Vegas” production by Michael Mayer, with mostly competent singing from a good-looking cast.
Newton’s Third Law of Motion states that for every action there is an equal and opposite reaction.
Robert Wilson is many things: a visionary (certainly); an iconoclast, artist, director, and designer of sets, lighting, costumes, movement (and furniture). Yet his work is never boring (well, at least not intentionally).
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