16 pieces since 2015 — in 7 roles, at 7 companies, most often at Metropolitan Opera.
When it premiered at the Opéra Comique in 1875, Carmen shocked audiences with its frank depictions of female sexuality, the proletariat, and violence: subjects that have ensured the piece’s continued relevance and that have inspired numerous retellings and revisions.
On this day in 2017, Clémentine Margaine made her Metropolitan Opera debut as Carmen.
Roberto Alagna’s physical and vocal embodiment of Don José lent his particular narrative a complication I hadn’t anticipated.
Too bad, then, that this season’s tossed flower was a bit of a wilted one.
The Metropolitan Opera’s revival of Carmen began with a bit of drama Thursday night when tenor Rafael Davila replaced Marcelo Álvarez.
Along with Don Giovanni, Carmen is an odd bird on the list of the most beloved and frequently performed works.
Like our beloved Cubs, Chicago Lyric Opera is in the midst of a championship season.
Les Contes d’Hoffmann is something of a puzzle in which some of the pieces are missing and others been altered to fit since Offenbach died before he could complete and revise the work.
Saturday evening conductor Will Crutchfield revived Donizetti’s La Favorite—unheard in New York for fifteen years.
Beg. Borrow. Steal. Bargain. Cajole. Seduce. Threaten. Extort.
A uniformly strong cast triumphs over a dull production of Don Carlo at the Dallas Opera.
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!
Lyric Opera of Chicago’s Don Carlos was a real feast of good singing and orchestral grandeur.
Otto Nicolai’s Il Templario with Juan Diego Flórez, Clémentine Margaine and Luca Salsi.
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
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