As a burgeoning opera fan, I relied on YouTube to connect me with the art form.
Too young to be in love. But not too young to go to war or to die.
Not too long ago, Benjamin Bernheim gave an interview to Opéra Magazine in which he stated “Je ne suis pas un top model.”
There were, of course, other Chénier recordings beyond the truly great ones…
Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.
Matthew Polenzani strode into the Park Avenue Armory’s Board of Officers Room last Monday evening and was received like a beloved friend–and indeed that is what he is to many of New York’s opera-goers.
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
Amilcare Ponchielli’s La Gioconda might not be a perfect opera (though I don’t see why not) but it is one of my favorites…
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Nothing says “diva” like an insane recital program.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
Zachary Woolfe reflects on the legacy of parterre box founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
Anna Bolena might be the earliest of Donizetti’s operas that might have name recognition to a non-specialist audience.
When our friends at Naxos and C Major announced near-dueling releases of Puccini’s “shabby little shocker,” I was ready with my critic’s pen dipped in bile.
Old opera productions at the end of their performing life can be sad affairs.
On the train ride home I was thinking that I don’t want to see or hear Norma ever again.
Step aside, Texas: “Everything is bigger at Aida” is the motto of the Met’s second attempt at retiring Sonja Frisell’s colossal production.
San Francisco Opera has unveiled a brand-new production of Giuseppe Verdi’s warhorse classic La traviata, the first “to be built in San Francisco Opera’s scene and costume shops in 35 years.”
The revival of Don Carlo(s) which opened on November 3 restored the translated Italian text and the cut 1882 four-act revision not seen at the Met since Rudolf Bing’s last season in 1972.
On this day in 2011, the Metropolitan Opera opened its season with a new production of Anna Bolena.
The Met’s revival of Turandot on Saturday night was surprisingly contentious.
I was reminded at the Met’s season premiere of Eugene Onegin Friday night always to expect the unexpected.
Don Carlos is my favorite Verdi opera, and I’m always in favor of including the most music. But it can be a dizzying task to keep track of all the options.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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