Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Prompted by Washington Concert Opera’s upcoming Luisa Miller, Chris Cache’s misbehaves five times by offering just the opera’s final act with sopranos from the 1970s, some of whom might be considered “under-appreciated”: Gabriella Tucci, Adriana Maliponte, Renata Scotto, Gilda Cruz-Romo, and Katia Ricciarelli.
This solid if not stellar performance finds our diva in particularly passionate form. Maybe they should have re-titled it Maddalena?
There were plenty of Turan-do’s and only a few Turandon’ts at the Met’s Turandot Sunday afternoon.
At the Met’s performance of Manon Tuesday evening, Michael Fabiano made as good a case as any for renaming the opera Chevalier des Grieux.
The Albanian soprano Ermonela Jaho is surely the reason that Covent Garden has made a commercial release of this “Live to Cinemas” relay from March of 2017.
While Farinelli and the King isn’t the only Broadway play to have explored castration (Sweet Bird of Youth, anyone?) it’s likely the first to concern a legendary 18th century opera star.
In attempting to get a little bit of everything onto my Mixcloud page, I realized that I inadvertently neglected some essentials: 1) Leyla Gencer 2) La Gioconda.
Let’s all listen to the American debut of Ghena Dimitrova in this 1981 performance of Ernani from Dallas.
Falstaff, Verdi’s final opera, is exuberantly inventive, bubbling and roiling with ideas the 79-year-old composer was too impatient to develop.
Nearly 30 years after a Handel opera last played there, Carnegie Hall presented The English Concert opening a three-year opera-oratorio project on Sunday afternoon with Radamisto.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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