Joining the Met’s week of bel canto reruns and Tuesday’s premiere of Teatro Nuovo’s exciting new project, Trove Thursday presents Bellini’s I Capuleti ed I Montecchi with Tatiana Troyanos and Cecilia Gasdia.
It was hard for me not to get choked up, watching two of AVA’s most promising young graduates having to make this opportunity for themselves, and doing it with such palpable good humor.
Michael Fabiano in one of his specialties as the dashing hero of Il corsaro torn between Tamara Wilson and Nicole Cabell.
For those of you keeping track at home that’s four substitutions for three roles and the curtain hasn’t even gone up yet.
Trove Thursday presents Michael Fabiano in one of his specialties as the dashing hero of Il Corsaro torn between Tamara Wilson and Nicole Cabell.
The second summer session of the Russian Opera Workshop concludes this week with concert performances of Tchaikovsky’s Maid of Orleans.
Under any circumstances, the Russian Opera Workshop’s radiant concert performance of Tchaikovsky’s Iolanta would have been an event to celebrate.
There are shows with iconic characters, and there are shows with iconic characters playing iconic characters.
“Trove Thursday” keeps the evil deeds going this All Saints’s Day with a vintage La Scala broadcast of Arrigo Boito’s only completed opera Mefistofele.
“Trove Thursday” offers due local Lombardi: one with Renata Scotto and José Carreras, the other with Aprile Millo and Carlo Bergonzi.
Isn’t it nice to know a lot? And a little bit not.
This week’s star-spangled “Trove Thursday” offers the second crazy-quilt installment of divas in the wrong language.
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?
As a diehard completist I felt guilty as the Met’s scattered, campy revival of Semiramide lumbered toward its abrupt conclusion after nearly four hours.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
Weekends at Aura Bar on 53rd and Ninth are typically big money makers for the morons who run the place. Jonjon and Yoni.
Sir David McVicar’s inept and dreary new production of Bellini’s Norma proved to be more satisfying than it had been on opening night when it returned to the Met Friday evening thanks to its new leading ladies Angela Meade and Jamie Barton
Washington National Opera’s lukewarm Alcina, unthreateningly misguided in both its musical and theatrical values, made little impact.
The 55th New York Film Festival presented the world premiere of Susan Froemke’s marvelous new documentary The Opera House in a special one-time-only screening at the Metropolitan Opera.
Bellini’s Norma Monday evening didn’t at all improve on the production it was replacing.
“Trove Thursday” presents a performance from 40 years ago: an inspired Renata Scotto as Cilea’s Adriana Lecouvreur.
I first went bonkers for Bellini’s masterpiece during the previous century when the Met remounted it for Joan Sutherland.
Will Crutchfield’s Bel Canto at Caramoor program of concert operas concluded with a bang on Saturday with Bellini’s first success, Il Pirata.
Published in 1975, James McCourt’s novel Mawrdew Czgowchwz is engaged with a longing for the divine.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.