The Bayerische Staatsoper’s summer festival wound down with Lotte de Beer’s darkly effective production of Gounod ’sFaust.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
Simon Boccanegra has never felt as foreboding or prophetic as it did at a recent performance at La Fenice.
A new recording of Boito‘s Nerone from Cagliari shows off an epic opera with fire and flamboyance
West Bay Opera’s Otello punches well above its weight
Revivals of Falstaff in Milan and Don Carlo in Naples have Larry Wolff thinking across the six decades of Verdi‘s career
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…
On this day in 1959 Alban Berg‘s Wozzeck had its Metropolitan Opera premiere (in English)
It is a measure of Verdi’s genius that throughout the four rambling acts, his musical invention in the service of creating characters never failed him.
Following the composition of Un ballo in maschera, Verdi had gone into a self-imposed retirement, at least musically; he had not composed a note in four years.
Why is so twinkling, tuneful a score so little known?
Saturday marks the centenary of Julius Rudel’s birth which Trove Thursday celebrates with Le Coq d’or, Faust and Ariodante, a triple-bill showcasing his impressive versatility, featuring Beverly Sills and Norman Treigle, two of the most important artists he nurtured during his leadership of the New York City Opera.
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
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.
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.
C-major has made available the first DVD/Blu-ray of Franco Faccio’s Amleto.
For her first CD in six years, Angela Gheorghiu has chosen Italian repertoire.
Be wary of operas that are famous for just one aria or just one famous opinion.
The subject of timidity has been in my thoughts in these waning days of February 2017. One would almost think there had been some big announcement recently, preceded by a series of smaller ones, to turn a U.S.-based opera fan’s thoughts in this direction.
Just 85 years ago, four of Italy’s greatest opera stars gathered at Teatro all Scala for an historic event: the first-ever recording of Arrigo Boito’s sole complete opera, Mefistofele.
The grand illusion is that we know it all. From four hundred years of opera, we’ve distilled the worthy survivors.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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