See the pretty diva in that mirror there
The diva must be a Diva in Adriana Lecouvreur. Fact.
71 pieces since 2006 — in 10 roles, at 7 companies, most often at Metropolitan Opera.
The diva must be a Diva in Adriana Lecouvreur. Fact.
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 […]
The one who got away was Anna Caterina Antonacci, a thrilling performer.
It was while attending a performance of Fédora in Naples in 1885 that eighteen year-old Umberto Giordano fell in love with Sardou’s then immensely popular play; the protagonist was none other than Sarah Bernhardt, the creator of the title role. He immediately asked the French dramatist to sell him the rights, a request Sardou did […]
Can it all be true? She did what? He said what?
This new DVD release from EMI of the Royal Opera’s latest production of Puccini’s Tosca will no doubt be snatched up by hordes of grateful fans around the globe.
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.
Here’s a lesser piece by a great composer, single-handedly “rescued” for our generation by Angela Gheorghiu.
Those of you cher public who ordered and enjoyed Decca’s bargain Wagner box may now be interested in a bargain Puccini edition offered by EMI. The set, Puccini: The Operas, retails for $59.98 (less than four bucks a disc) and includes complete performances of:Â
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
One of the major complaints about the five year casting system (as well as the shared productions by different companies) is that operatic events are rarely surprises anymore.
“Voglio essere giudicato per la musica e nient’altro che per la musica.” “I want to be judged for my music and nothing but my music.” This phrase, which Mascagni himself wrote to his publisher Sonzogno, is the key to understanding the very essence and existence of L’amico Fritz (1891). Cavalleria rusticana, Mascagni’s first performed opera, […]
It’s perhaps because Puccini is the master of operatic pathos that Tosca has proved so hard for people to get a handle on.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
Angela Gheorghiu‘ s idiosyncratically alluring, sometimes maddening, always fascinating Floria Tosca inevitably became the evening’s unmissable raison d’être.
La Cieca has found a few fragments from last night’s performance of Tosca at the ROH — only about 15 minutes of music, but enough, perhaps, to give a hint of the suitability of Angela Gheorghiu for the title role. La Cieca’s take (based on an in-house mike, remember!) is that the Roman diva is […]
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
On a new Opus Arte video, Ermonela Jaho is at the absolute peak of her powers both vocally and interpretively.
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