A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
Macbeth at the Festival Verdi in Parma aims big — on a small scale
Chris’s Cache offers Nadine Sierra and Xabier Anduaga, the stars of the upcoming production of La sonnambula, in a performance of another favorite bel canto opera
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
“The mystery of her voice gripped my soul,” Sharpless tells Pinkerton at the beginning of Puccini’s Madama Butterfly. One could say the same thing of Aleksandra Kurzak’s remarkable portrayal of the title role, the main reason to catch the Met’s latest revival.
On paper, the Met’s revival of L’elisir d’amore looked like a lovely evening. And at times it was—a few scenes hinted at what it could be and what it might yet become.
Although the gold glitter cannons detonated at the end of the act were an ostentatious reminder that this was a celebration of the new year, it seemed that the only words on anyone’s lips as the audience filed out of the theater were “Viva Netrebko!”
Ryan McKinny’s Don is subtler, slyer, smoother, with a sharp wit and sense of dark humor that gives added dimension to the role.
Lyric Opera of Chicago’as Don Giovanni lands smack dab in the middle of our current debate about wanted or unwanted sexual advances and outright sexual abuse.
On Tuesday we got one of the Met’s inveterate classics, which meant yet another opportunity to gaze upon the old accessories: Donkey cart! Teal shawl! Fugly plaid slacks!
Good singing and a dramatically potent (if conservative) production were an unbeatable combination in the Metropolitan Opera’s season premiere of Donizetti’s L’Elisir d’Amore.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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