Seeing double
Jonas Kaufmann has a new lieder album called Doppelgänger, but the contents of the album vary depending on how you purchase it.
11 pieces since 2006 — at 5 companies, most often at Seattle Opera.
Jonas Kaufmann has a new lieder album called Doppelgänger, but the contents of the album vary depending on how you purchase it.
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Imagine my surprise then when I discovered a new recording of Tristan und Isolde released by Navona Records, a small label based in New Hampshire that primarily focuses on recitals of chamber music, solo works, and smaller ensemble pieces.
Although stripped down, this comedy of manners was far from boring due to well-choreographed movements and actions of the characters.
The 2016 Richard Tucker Award recipient is Tamara Wilson.
“Has anyone ever seen a truly great production of this opera?”
There is a mighty appetite among both old Wagnerians and new ones to see a Ring that follows—if not too slavishly—the scenic requests of the libretto.
Is Der Ring des Nibelungen responsible for the transformation of Seattle from a gray, damp, low-rise Boeing company town where half the jokes had punchlines in Norwegian (and were about lutefisk in any case) into today's booming cultural metropolis? I like to think so.
Chicago’s opera community has been abuzz about this production of Verdi’s Un ballo in maschera ever since the 2010-11 Lyric Opera season was announced. A sumptuous production owned by San Francisco opera, major female stars, a solid male cast of experienced Verdians, and stage direction by the legendary Renata Scotto—what more could one ask?
Blazing Jupiter, the Jovial Star, my personal magical azimuth, plus Perseid meteors wafting about, burning out as do our souls, as we arrived home from Seattle Opera’s new production of Tristan und Isolde.
La Cieca must be brief as she is on jury duty (can you imagine, La Cieca being asked to pass judgment?) Anyway. Highlight of the Tucker Gala was definitely Marcello Giordani, who was in absolutely ideal voice for the “Improvviso,” and only slightly nervous for the “Vicino a te.” (He sharped on the very final […]
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