Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
That this performance of Verdi’s Lady Macbeth was recorded and preserved for posterity is beyond the pale.
I trust, fellow Parterre readers, that we can all agree that Riccardo Muti is a great opera conductor.
Baltimore Symphony Orchestra’s concert Rigoletto hits some vocal turbulence
Grand Tier Grab Bag this week honors the late Limmie Pulliam with a bit of his Verdi Requiem.
Matthew Travisano has such doubts about Douglas Cuomo‘s opera recently seen at Opera Parallèle.
The immortal Renata Tebaldi, just about 29 years old as Saint Joan in a RAI broadcast of Giovanna d’Arco from 1951.
My favorite Verdi performance is the iconic 1960 RCA recording of Otello with Jon Vickers in the title role and the Rome Opera Orchestra and Chorus under the baton of the masterly Tullio Serafin.
Verdi’s Stiffelio goes Amish in Vienna, featuring a stellar Luciano Ganci in the title role.
My favorite Verdi performance is Claudio Abbado Don Carlo opening of the Scala.
I feel that the best years of Maria Callas’s vocalità, when we hear such a unique freedom and generosity in her singing, were captured in her early recordings.
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra‘s performances of Puccini’s triple-bill.
Like probably all of us, there are so many different things I could have submitted for a favorite Verdi performance.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
I realize Igor Gorin did not sing much Verdi except for a few Papa Germonts, yet this performance of the famous baritone aria from Attila I claim is well-night perfect singing.
Opera San José‘s La Traviata has all the buzz and energy of a world premiere.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Frida Leider is a major Wagnerian soprano who does not sound like a Wagnerian soprano.
Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
A David Lang premiere at the New York Philharmonic brings a wealth of musical delights — and bodes well for Gustavo Dudamel‘s leadership.
Simon Boccanegra has never felt as foreboding or prophetic as it did at a recent performance at La Fenice.
Franz Welser-Möst leads a rigorous, if emotionally staid, performance of Verdi‘s Requiem at Carnegie Hall.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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