Ross Wassermann tracks the development of “Che farò senza Euridice?” — and “J’ai perdu mon Eurydice” — for this month’s Perspectives on an Aria
Many of us of a certain age had the good luck to see Benita Valente frequently at the Met. My memory is that she was treated rather like a house singer at first, and only later was appreciated for her extraordinary gifts.
Beverly Sills and Renée Fleming perform 30 years apart the same work with the same orchestra in the same venue!
April is the cruelest month, the song tells us—but this year, it was a week later. Ghenady Meirson, Philadelphia’s master of Russian Opera and coach extraordinaire, died on May 8.
Under any circumstances, the Russian Opera Workshop’s radiant concert performance of Tchaikovsky’s Iolanta would have been an event to celebrate.
Russian repertoire figures very centrally in AVA’s mission.
Those readers who know my musical tastes will not be shocked to find that I have a somewhat conflicted view of Mozart’s operatic works.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
Neumeier adapted the story close to home, making Orpheus a choreographer and his wife a star ballerina.
An extraordinarily rich variety of opera happens locally, under the umbrella of New York Opera Fest.
The New Year’s Eve gala at the Met ushering out 2011 was the world premiere of the much-anticipated mash-up The Enchanted Island AKA “baroque opera for those who hate (or at least don’t know) baroque opera.
Joyce DiDonato enjoys the rare cachet of having three studio-recorded operas released in the past three years while other famous divas must be content with “just” DVDs. Although two of Renée Fleming’s Violettas have found their way onto video in less than five years (why??), “the people’s diva” has only recorded one studio opera in…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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