A uniformly strong cast triumphs over a dull production of Don Carlo at the Dallas Opera.
The Met’s Cinderella is a charming adaptation of Massenet’s opera. Frothy, fun, and enchanting, it is a magical holiday treat for the whole family to enjoy.
A good time seemed to be had by all though I don’t recall seeing a single child in attendance.
Who’s been hiding tenor Benjamin Bernheim from me all this time?
Alexander Birch Elliott‘ s dynamic if gauche Zurga added some pizzazz to an otherwise bland evening.
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.
The production is at all times visually arresting, but it’s also extremely distracting.
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.
Headlining the Met’s current revival of both Cavalleria Rusticana and Pagliacci, Roberto Alagna was operating on all cylinders Monday evening.
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
A wonderfully committed Ailyn Pérez and Gerald Finley at Saturday afternoon’s revival abetted by Emmanuel Villaume’s passionate conducting converted me to a Thaïs believer.
For her first CD in six years, Angela Gheorghiu has chosen Italian repertoire.
Bartlett Sher’s “new to Chicago” production of Romeo et Juliette came to the Lyric Opera at Monday’s opening after appearances at Salzburg and Milan.
Imagine two tenors releasing French opera aria collections at the same time without duplicating a single track!
Joyce, Javier and now Julia—this week these three remarkable Js brought New York City memorable “Cinderella stories.”
You Parterrestrials know all about Santa Fe Opera’s amazing mountain setting and open-sided theater affording breathtaking sunsets, weather-related drama and–when the back stage wall is opened–starry backdrops, but it was my first visit, so indulge me a little.
The subtitle for Il crociato in Egitto, the last of Meyerbeer’s great Italian operas, is “Historic Melodrama in Two Acts,” and boy is it! A melodrama, I mean. I’m not sure about the historic part.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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