Without furnishings to distract them, the cast prowled the stage with sinister energy, exchanging significant looks and deadly secrets as though fearing Nihilists behind every drapery.
Happy New Year, dear readers, from me, Callum, and Christine Goerke’s headband-tiara!
Produced at Carnegie Hall by Matthew Epstein in 1983 with June Anderson, Marilyn Horne, Samuel Ramey and Douglas Ahlstedt with Henry Lewis conducting.
We can delight in films that make use of motif to give opera-lovers an extra little jiggle.
Wagner must intrude at some point because he invented film music.
Many now have scads more time for listening so Trove Thursday will offer several epic operas during May beginning with Rossini’s Guillaume Tell (this week aka Guglielmo Tell) in a concert performance featuring Giuseppe Taddei in the title role and Teresa Zylis-Gara and Franco Bonisolli as the war-crossed lovers.
I need to get something off my chest. I love bel canto.
Not everyone is happy about the Beethoven sestercentennial.
While last year’s finals were dominated by early nineteenth-century bel canto arias, this year’s finalists took on a remarkably broad range of music from a variety of repertoires.
The Berta (mezzo-soprano Emily Damasco) runs away with the show.
What is opera for if not to commemorate a national epic tragedy and triumph?
Come ye addicts of melody! After long eclipse, Bel Canto shines again!
In El Barbero de Sevilla, as given through the weekend by the New Camerata Opera, there is far too much comic dialogue, all of it in English and none of it sparkling.
Rossini’s Semiramide is a highly original and imaginative work of theater that impresses for its creative and beautifully scored orchestration, incisive recitatives and ensembles, and theatrically intriguing characters.
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
L’Italiana in Algeri‘s appearance at the Salzburg Festival should be no surprise since Ceciila Bartoli has been the intendant of the Whitsun Festival extension at Salzburg since 2012.
Dell’ Arte Opera Ensemble’s “Scenes from the Tower” evening is devoted to three operas composed by women, and the metaphorical tower is women’s sequestration from the opera stage.
Can a work with indisputably great music fail to add up to a successful opera? I puzzled over that Sunday during Teatro Nuovo’s essential concert staging of Rossini’s La Gazza Ladra at SUNY Purchase.
Teatro Nuovo put on a perfectly delightful show on Thursday night.
Amore Opera, an old-fashioned, adventurous little company that performs ambitious and sometimes delectably obscure but worthy repertory at the Riverside Theatre, is now (through Sunday) presenting Un ballo in maschera.
A return to Amore Opera’s production of Meyerbeer’s Dinorah to hear the second cast underlined two conclusions.
The full title of the opera pretty much describes the plot: Il mondo alla roversa osia Le donne che comandano.
Yannick Nézet-Séguin’s “Music of Faith” with the Philadelphia Orchestra was a sensational concert, perhaps the best I’ve heard in more than a season.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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