Thoughts on La Gioconda: the others
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
28 pieces since 2009 — in 15 roles, at 9 companies, most often at Metropolitan Opera.
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
This was by far my most satisfying experience with Pelléas et Mélisande for a multitude of reasons and I encourage anyone who’s even mildly curious to find their way to the Music Center for a very rich experience.
When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.
A member of the cher public who attended last night’s premiere of Verdi’s Macbeth at the Opéra national de Paris filed this report: It was Paris Opera GM Gerard Mortier‘s penultimate opportunity – his term ends in July –  to moon opening night Parisian audiences and he did just that. He flew in bad-boy director […]
Usually the longer I know a work the more I look forward to rediscovering it, but that’s just not the case with the Verdi Requiem.
In 2022, making Così fan tutte intimate is not a radical act. Making it enjoyable, however, is.
In San Francisco Opera’s new Così fan tutte, the elements that most visibly read as “American” were a penchant for slapstick humor, overcooked blocking, and an abundance of cartoonish period costumes that hobbled the opera’s first act.
Like our beloved Cubs, Chicago Lyric Opera is in the midst of a championship season.
That Placido Domingo and James Levine, the Met’s inexorable septuagenarians, would team up yet again—on April Fools’ Day, no less—for a revival of Verdi’s Simon Boccanegra occasioned an uncomfortable degree of doubt and dread.
As the world knows, Anja Harteros dropped out of this series of Don Carlo for a stab at Aïda in Rome. Illness sidelined Ramón Vargas from the title roles in both Don Carlo and Werther. While Wiener Staatsoper has been plagued with cancellations all season (even substituting L’elisir d’amore for La Juive at the last […]
Don Carlo is truly a grand opera, Verdi’s biggest, no matter if it’s the four or five act version. It is a bitch.
A quintessential theater man as well as a brilliant conductor, James Levine rightfully chose not only the five-act version of Don Carlo for this 1980 performance but begins the opera as Verdi had originally conceived it. The Woodcutters chorus and the episode in which Elisabetta gives her necklace to a destitute woman are pages essential to […]
For opening night of the new LA Opera season Placido Domingo decided to return to one of his best Verdi showcases, Don Carlo, only this time as the baritone, Rodrigo the Marquis di Posa, instead of the title character.
Trove Thursday offers two very different live recordings of Halévy’s grand opera La Juive.
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Robert Carsen‘s legendary production of Eugene Onegin finally arrives in San Francisco.
Here in Chicago, I’ve had many a shot at listening to Riccardo Muti as a Verdi conductor.
New Kid on the Plaza Drammy writes: April 9, 2009. A traditional Otto Schenk production featuring Diana Damrau as Gilda and who cares but.. Frizza conducting, Viktoria Vizin as Maddalena, Calleja as the Duke, Frontali as Rigoletto, Aceto as Sparafucile. Stellar performances from the entire cast, excepting poor Mr Frontali. The set was phenomenal – […]
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