Destiny’s child
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
29 pieces since 2012 — in 13 roles, at 8 companies, most often at Metropolitan Opera.
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Brian Jagde‘s creative and charismatic Calaf was almost enough to make up for his counterpart Martina Serafin’s distant portrayal of Turandot.
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Sondra Radvanovsky was a force of nature as Tosca on Thursday night at the Met.
Opera is back, baby, and it’s good to be home!
For this revisiting of Tosca, San Francisco Opera decided to highlight the glamorous lifestyle of the Italian soprano Carmen Giannattasio.
The San Francisco Opera is batting a thousand where young singers are concerned this season.
You Parterrestrials know all about Santa Fe Opera’s amazing mountain setting and open-sided theater affording breathtaking sunsets, weather-related drama and–when the back stage wall is opened–starry backdrops, but it was my first visit, so indulge me a little.
About this evening: the opera we saw was Arabella, written by a gentleman named Mr. Richard Strauss.
The San Francisco Opera, perhaps incidentally, continued their exploration of operas based on literary works by mounting the revival of Giacomo Puccini’s first success, Manon Lescaut.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
It is always a pleasure to hear a great orchestra take on a major score that might sound half-muffled emerging from the pit of an opera house.
The big news on Van Ness Avenue, it goes without saying, is Calixto Bieito’s operatic debut on these shores.
A pair of Otellos – in Madrid and Parma – is a study in contrasts.
Winter weather has taken a toll on the cast of Lyric Opera of Chicago’s revival of Puccini’s Madama Butterfly.
Going into Washington National Opera’s final presentation of the season, Madama Butterfly, I feared that I might be geisha’d out.
Elina Garanca is back at the Met for the first time since 2020 — her Amneris is, in a word, sensational.
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
Step aside, Texas: “Everything is bigger at Aida” is the motto of the Met’s second attempt at retiring Sonja Frisell’s colossal production.
It is a good rule of thumb that if you emerge from a massive grand opera like Aida feeling any less than overwhelmed, you have a right to be somewhat disappointed.
Mascagni’s Cavalleria Rusticana has always been a particular favorite, although I’ve only seen it staged once (and that by an amateur company the details of which I share spare you all, save to note that dinner was served during the performance.)
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