Greek National Opera’s Medea in the ancient theater at Epidaurus is an intermittently rewarding exercise in nostalgia.
After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Anna Pirozzi and Luca Salsi reunite in blazing form in Tosca at the Teatro San Carlo
parterre box presents for your comparing pleasure excerpts of three Italian sopranos trying their (poker) hands at Puccini’s Minnie: Carmen Giannatasio, Chiara Isotton, and Anna Pirozzi
The whole performance was reminiscent of long-forgotten ways of doing opera (ways which still find the full approval of an Italian public tired of proposals that are all too “experimental”)
On this day in 1982 the Metropolitan Opera revisited its controversial season-opener Norma.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
This new production of the 1847 original version of Verdi’s first stab at Shakespeare features the extraordinary performances of Luca Salsi and Anna Pirozzi as the Thane of Cawdor and his merry wife.
The second DVD/Blu-ray with Plácido Domingo as Verdi’s other beleaguered Doge, Francesco in I due Foscari.
By the time Roberto Devereux saw its premiere at Napoli’s Teatro San Carlo on 29 October, 1837, Gaetano Donizetti had lost, in an 18-month time frame, both his parents, two still-born children, and his beloved wife Virginia.
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.