Alban Berg’s compact yet potent oeuvre has long played an outsized role in shaping my understanding of music’s aesthetic evolution.
Use bodily force and get your friends to one of the next five performances of the Met’s new production of Adriana Lecouvreur. It is everything!
If sheer clarion vocalism is what draws you to the opera, then hie thee to Lyric Opera of Chicago’s rousing revival Of Verdi’s Il Trovatore, the oddly plotted but musically sublime opera that opened last night in the David McVicar production, originally seen in 2006.
Sondra Radvanovsky changed my opinion of her through a single performance—I’ll never think of her the same way again; the power of her singing overwhelmed my previous impressions.
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
If one looks at trends in the last 40 or so years, the most successful Normas are mainly those who’ve made not just bel canto, but Bellini as a mainstay in their repertoire.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
Headlining the Met’s current revival of both Cavalleria Rusticana and Pagliacci, Roberto Alagna was operating on all cylinders Monday evening.
The more ignorant segments of the public and the critical establishment continue to shout praise to David McVicar‘s torpid Tosca as the greatest triumph of the reactionary since the Bourbon Restoration.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
I had a panic attack, that’s how moved you made me.
Christophe Dumaux quickly slipped in and out of town this weekend to sing Handel and Vivaldi in a marvelous gala concert with the Sejong Soloists at Zankel Hall.
Sir David McVicar’s inept and dreary new production of Bellini’s Norma proved to be more satisfying than it had been on opening night when it returned to the Met Friday evening thanks to its new leading ladies Angela Meade and Jamie Barton
I suspect that David McVicar’s new production of the Metropolitan Opera’s Norma had its most congenial showing as a totality, specifically in the HD format at the movie theater.
“Trove Thursday” marks Monteverdi’s 450th birthday with a rare broadcast of his towering final work L’Incoronazione di Poppea.
Bellini’s Norma Monday evening didn’t at all improve on the production it was replacing.
I first went bonkers for Bellini’s masterpiece during the previous century when the Met remounted it for Joan Sutherland.
A poster outside Carnegie Hall proclaimed “Mahler Well Met” and to some degree it proved to be true.
I don’t usually attend a performance of an opera I’ve known well most of my life expecting a revelation.
Since no doubt the New York contingent of the cher public are already shuddering in anticipation of a Kristine Opolais Tosca as a “gala” New Year’s Eve treat, La Cieca thought you might enjoy—again, surely too strong a word—a preview of sorts.
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
>What does a great opera production do, and what does a bad production fail to do?
Opera at Caramoor rallied Sunday afternoon with an admirable if erratic performance of Fidelio which was especially memorable for South African soprano Elza van den Heever’s thrilling first-ever Leonore.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.