On Thursday June 30th, San Francisco Opera closed their summer season with a one-night-only special concert celebrating Eun Sun Kim’s first season as the Caroline H. Hume Music Director, in an aptly named concert “Eun Sun Kim Conducts Verdi.”
Why is so twinkling, tuneful a score so little known?
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
The only correct version of Don Carlos must be in French. That is the language that Verdi composed it in and he made all his revisions in that language.
On this day in 1959 soprano Leonie Rysanek made her Metropolitan Opera debut as Lady Macbeth.
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
The people—I assume most of them were natives—seemed pretty happy at La Boheme at the San Carlo on Saturday night. For one thing, the theater was packed to the top tier, all of us masked (vigili di fuoco—firemen—made sure of that)
After the break the ladies stepped up their game so much that it elevated the night into legendary status: definitely one for the books!
In anticipation of the Met’s reopening performance on September 11, another serving of pandemic-hoarding arrives on Trove Thursday with 10 rare live performances of the Verdi Requiem’s concluding “Libera me.”
Maria Callas and Montserrat Caballé are two of the most highly-regarded and esteemed exponents of the great soprano roles in both bel canto and in the operas of Verdi, and their recordings are held as artistic triumphs of the highest order.
The Met recently submitted another eye-roll inducing entry for the Woke Olympics with their Women’s History Month slate.
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!
Lise Davidsen turned in a fine performance Saturday, cementing her up-and-coming star status in an eclectic program given from the Oscarshall Palace in Oslo.
We can delight in films that make use of motif to give opera-lovers an extra little jiggle.
Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.
Trove Thursday offers a problematic yet fascinating work that would almost certainly not be staged today: Il Guarany by Carlos Gomes featuring João Gibin, Gianna d’Angelo, Piero Cappuccilli and Nicola Zaccaria.
Joseph Bologne, Chevalier de Saint George is frequently referred to as “le Mozart noir.” While surely intended as a favorable comparison to Mozart, the sobriquet is diminishing, implying that Bologne’s music was somehow derivative of Mozart’s.
With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
That question hung in the air when Teatro de la Zarzuela Madrid revived Tomás Bretón’s opera Farinelli for first time since its premiere in 1902.
The New York Gilbert And Sullivan Players is giving its umpteenth production of The Mikado through next Sunday at the Kaye Playhouse, and the show remains frisky and first rate.
Beg. Borrow. Steal. Bargain. Cajole. Seduce. Threaten. Extort.
What is opera for if not to commemorate a national epic tragedy and triumph?
While Russell Thomas admirably goes toe to toe with Otello (and Otello) in a thoughtful and self-aware way, the assumption feels like a work in progress if not an outright mismatch with his vocal gifts.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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