The one who got away was Anna Caterina Antonacci, a thrilling performer.
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
SoCal goes Scandi in two recent concerts, with one featuring an appearance by Lise Davidsen.
Matthew Travisano takes on Mimì’s Act III aria from La bohème — not that one, the other one — in the latest installment of the “Perspectives on an Aria” series
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Happy was I to attend the Celebrity Opera Series presentation Saturday night at BroadStage, mere blocks from my humble abode in Santa Monica as Anglela Gheorghiu was making an eagerly awaited return for the first time since her debut here in 2013.
When my editor suggested to me a round-up of my favorite recordings of Jacques Offenbach’s Les Contes d’Hoffmann I was très, très, intrigued.
Puccini’s schmaltziest, most melodic, most dramatically limp, most cynical, most obscure mature work
Next week Puccini’s La Rondine returns to the Met for the first time in eleven years, so Chris’s Cache offers three quite diverse sopranos as Magda: Ljuba Welitsch, Virginia Zeani, and Cristina Gallardo-Domâs.
On this day in 2008 the Metropolitan Opera presented a gala new production of Puccini’s La rondine.
Now, through the auspices of the Metropolitan Opera, we have Sonya Yoncheva—and if anything, the diva-dom has been kicked up a notch!
Whatever you think of Angela Gheorghiu, she epitomizes a star sound, the kind of voice that’s recognizable within three seconds, and she definitely knows her way around a performance.
On a new Opus Arte video, Ermonela Jaho is at the absolute peak of her powers both vocally and interpretively.
Sunday’s Richard Tucker Gala at Carnegie Hall was unusually satisfying despite a less than usually superstarry line-up.
The Philadelphia Orchestra’s opening night concert, for better or worse, was not a gala evening starring Plácido Domingo.
Elina Garanca was radiantly present at Carnegie Hall Friday night performing a ravishingly somber Rückert-Lieder with Yannick Nézet-Séguin and the MET Orchestra.
Soprano Iulia Isaev proved to be in just about every way a lovely Tosca.
Use bodily force and get your friends to one of the next five performances of the Met’s new production of Adriana Lecouvreur. It is everything!
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
The arrival of a new recording of Giuseppe Verdi’s Otello into the catalogue, to say nothing of a new tenor capable of singing Otello, is generally cause for hosannas all around in operatic circles.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
It’s perhaps because Puccini is the master of operatic pathos that Tosca has proved so hard for people to get a handle on.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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