We close 2018 with Le Comte Ory with an enviable nearly all-Italian cast of prime-time Rossini specialists: Mariella Devia, Cecila Bartoli, Ewa Podles, William Matteuzzi, Claudio Desderi and Pietro Spagnoli.
Diana Damrau‘s performance as Violetta was the work of a very ordinary artist, one susceptible to vocal flubs, poor intonation, and an all too banal approach operatic performance.
Salieri’s La Cifra (“The Cipher”) played all over Europe for 20 years, in several translations (German, Spanish). Then, like many a worthy work, it was forgotten.
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
I have a confession to make. I have been taking Rigoletto for granted.
The Verdi Chorus celebrated their 35th anniversary with their spring concert weekend entitled The Force of Destiny last Saturday night and Sunday afternoon.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
At Palermo’s Teatro Massimo, Zerline, the heroine of Auber’s once beloved Fra Diavolo , undresses down to frilly French skivvies.
As a diehard completist I felt guilty as the Met’s scattered, campy revival of Semiramide lumbered toward its abrupt conclusion after nearly four hours.
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
Semiramide produced at Carnegie Hall by Matthew Epstein in 1983 with June Anderson, Marilyn Horne, Samuel Ramey and Douglas Ahlstedt with Henry Lewis conducting.
Forgotten operas when revived may prove to be only their own reward.
Psychology is encoded in the composer’s vocal lines more than his librettist’s words.
“Semiramide—a better opera than this dude expected!”
From up close, the miked opera singer can be a bit tough to take.
In the same season that Manhattan School of Music revived The Gypsy Baron, Riverside Theater around the corner is the site of Amore Opera’s “Season of Gypsy Operas.”
Diana Damrau has chosen for her new Erato recital disc Grand Opera 11 high-flying showpieces from ten operas by Giacomo Meyerbeer.
It is much to be regretted that song recitalists stick to the tried, the true, the excessively familiar when the repertory of song is so vast, so full of treasures ready for the light
A brilliant production of La Juive like that of Peter Konwitschny generalizes the message that mindless hate does not pay and the mindless mob is always the enemy of civilization.
LoftOpera’s Saturday night performance of Rossini’s Otello successfully appealed to the essential kinetic energy of the operatic art form.
Tancredi, given on February 10th, was a credit to Opera Philadelphia, who offered a well-considered and compelling production.
Revive is a manifesto of sorts, declaring Elina Garanca’s intentions for the new direction in her career.
Beaumarchais clearly delighted in this unobtrusive realm.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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