An afternoon at the opera
Il trovatore may be famous for its melodramatic plot and unlikely mistaken identities, but surely even Verdi and Cammarano couldn’t have imagined the chaos of a performance featuring two Manricos and two Leonoras.
Daniele Callegari
9 pieces since 2011 — at 4 companies, most often at Metropolitan Opera.
9
pieces
4
companies
16
years
Five of a kind
Rare is the revival of Il trovatore that boasts five first-rate singers, and such an occasion should be treasured. And so, at the Met last Saturday, it was.
Turn and face the strange
How appropriate that the Met should present this supposedly “Jewish” opera after many in the audience had just spent twelve days immersed in the genuine article over the High Holy Days.
On a par with tuberculosis
Come back, Big Clock! We need you more than ever!
General, not specific
While Russell Thomas admirably goes toe to toe with Otello (and Otello) in a thoughtful and self-aware way, the assumption feels like a work in progress if not an outright mismatch with his vocal gifts.
Double exposure
San Francisco Opera opened their 2018-19 Season Friday with a double bill of Italian verismo operas, Cavalleria rusticana and Pagliacci, which made a welcome return to War Memorial Opera House after 15 years.
Cross purposes
In spite of sounding like an indelicate football injury, I Lombardi alla prima crociata was only Giuseppe Verdi’s fourth opera.
Tales of the unexpected
Saturday matinee’s prima Trovatore brought an exciting and compelling show to the Met’s stage in the revival of David McVicar’s dark, Goya-esque production.
Banal on the canal
At one time, the idea of a performance of La Gioconda conjured up images of over-the-top, competitive, passionate vocalism, and big personalities. As a vehicle for great singers (and especially a great protagonist), it was thrilling.