After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
John Danaher on the world-premiere recording of Clémence de Grandval‘s wild and worthy Mazeppa, the latest release from the operatic archaeologists at Palazzetto Bru Zane.
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
I’ve argued with myself for many years as to which was my favorite opera by Giuseppe Verdi, La forza del destino or Don Carlos. The latter finally won out especially after studying it in depth, but in the long run, it is the music of Forza that I love the most.
Readers, writers, and stars reflect on the 30th anniversary of “the most essential blog in opera” (NYT)
On this day in 1998 the Metropolitan Opera presented a new production of Le nozze di Figaro featuring Cecilia Bartoli as Susanna.
Ludwig van Beethoven’s “rescue opera” Fidelio was presented by San Francisco Opera as their first new production of the season last Thursday in reinterpreted fashion.
The crown jewel of this year’s Munich Festival is undoubtedly Richard Wagner’s Tristan und Isolde, which opened the Festival on June 29 and will close the Festival with an “Opera for All” screening on July 31.
One of Mariella Devia‘s earliest New York successes: Delibes’s Lakmé with Nicolai Gedda and Paul Plishka.
Starring Marlis Petersen, Susan Graham, Daniel Brenna, Paul Groves, Johan Reuter and Franz Grundheber, conducted by Lothar Koenigs. From November 21, 2015.
Oh, yes, it’s Ladies’ Night and the feeling’s right! Oh, yes, it’s Ladies’ Night! Oh, what a night!
“Dying in the third act is much more intense, as the sickness has the same symptoms as COVID-19, so suffocation, pain, agony, fever—all this must be present and real.”
That question hung in the air when Teatro de la Zarzuela Madrid revived Tomás Bretón’s opera Farinelli for first time since its premiere in 1902.
As we also saw last year, Festival O19 ended on a sweetly quiet note, movingly connecting Opera Philadelphia with the larger city and our musical future.
I do not envy Jennifer Rowley the task of stepping into Anna Netrebko’s shoes.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
At Friday’s opening of Otello, there was a good deal of interesting going on, though not all of it necessarily onstage.
With a program of Schumann, Wagner, Ravel and de Falla, mezzo-soprano Elina Garanca and pianist Kevin Murphy delivered a underdone performance at Carnegie Hall on Tuesday night.
Whatever its flaws, La finta giardinera is indeed a wise rep choice for grad students eager to cut their teeth.
If everything you see is great, you are either new to opera or chronically easy to please.
The beautiful singing here is less in the sound than in the way the voice moves.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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