While it may not be top-tier Rossini, Teatro Nuovo’s mounting of Il turco in Italia is still good summer fun.
Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
In a splashy new recording of Norma, Marina Rebeka “is doing something very untoward, and it appears destructive to her voice.” It has Niel Rishoi worried.
Too young to be in love. But not too young to go to war or to die.
A perfect escape for a city laden with recent layoffs and job cuts coming into Holiday season
Anna Bolena might be the earliest of Donizetti’s operas that might have name recognition to a non-specialist audience.
On this day in 1974 Verdi’s I Vespri Siciliani had its Metropolitan Opera stage premiere.
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.
Mozart and Donizetti could humanize characters in a farce—Mercadante in I due FIgaro cannot get a handle on them.
The four leading roles in La Straniera were all attractively cast by Teatro Nuovo with fresh, promising young voices that did not seem quite ready for the big time.
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
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
Vincenzo Bellini’s La Straniera was presented at George Washington University’s dreary Lisner Hall on Sunday.
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.
Will Crutchfield’s Bel Canto at Caramoor program of concert operas concluded with a bang on Saturday with Bellini’s first success, Il Pirata.
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
Now we find Mariella Devia, a diva held in near mythic regard due to her vocal longevity, with competing videos of two of her performances that were released, literally, on the same day.
“The music’s fun, but doesn’t Rossini repeat himself?”
The key to enjoying Bellini’s I Capuleti e Montechi is to do a hard factory reset and reformat your brain to forget all other works based on Romeo and Juliet.
Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts.
I think we’re all aware by now of the wicked libel that the French dramatist Victor Hugo concocted about the fair Lucrezia Borgia with his depiction of her as a murderous virago.
Giovanni Simone Mayr was one of the most important musical figures of his day, a man Rossini referred to as the “father of Italian opera” whom Napoleon personally lobbied to come work in Paris. Though he wrote nearly 70 operas and taught Donizetti and Bellini, the Bavarian-born composer had the misfortune of hitting his peak…
[Our Own Gualtier Malde (along with a few thousand other people) attended the public dress rehearsal of the Met’s new production of La sonnambula this morning. Here is his report.] Innocence, rustic naiveté and virginity just don’t get no respect no more. I should know, I grew up way out in central New Jersey and…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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