“Trove Thursday” continues its mini Shakespeare festival with a delightful performance by the New York City Opera of Die Lüstigen Weiber von Windsor.
By the time Roberto Devereux saw its premiere at Napoli’s Teatro San Carlo on 29 October, 1837, Gaetano Donizetti had lost, in an 18-month time frame, both his parents, two still-born children, and his beloved wife Virginia.
I grew up with the Anna Moffo recording of Luisa Miller, so it was fortuitous that the Met gave the premiere of a new production in 1968, around the time RCA released the album.
Anna Moffo made some of the most entrancing records ever. Their appeal is to “voice fanciers.” (I understand. We’re a despised group.) But Moffo’s best work renders us helpless.
A much-loved diva overdue for this site is Anna Moffo.
Lisette Oropesa sang “The Lost One”—the meaning of “traviata.”
For those of you who can’t make it to the Met’s opening night, I am happy to provide you the opportunity to experience another Otello with a cast that was unmatchable for 1981.
Let’s all listen to the American debut of Ghena Dimitrova in this 1981 performance of Ernani from Dallas.
I’m a long-time fan of the Opera in English series funded by The Peter Moores Foundation that started, fittingly enough, with conductor Reginald Goodall’s performances of Wagner’s Ring cycle recorded live from the London Coliseum and released by EMI
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…
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
Verdi must have gotten tired of tossing and turning by now and has gone back to resting in peace.
It was a night a-tingle with excitement at the Metropolitan Opera House.
The rediscovery of Franco Faccio’s Amleto, a curious score that last week, via Baltimore Concert Opera, received its first performances since 1871, reminds us just how tough an act Giuseppe Verdi was to follow.
I just arrived back from Stella di Napoli’s.
Our Own Jungfer Marianne Leitmetzerin celebrates tonight’s opening of the season at the Met with an opening night from the past: a 1967 performance of La traviata.
In recent years the enterprising Dell’Arte Opera Ensemble has brightened the usually arid weeks of August in New York City with some worthy operatic showcases for young singers.
This week, Our Own Jungfer Marianne Leizmetzerin turns her vigilant ears to the recent past to take in a performance of Il trovatore featuring Anna Netrebko and Plácido Domingo.
Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts.
Before there was Verdi’s Otello, Rossini’s Otello was considered the master operatic adaptation of Shakespeare’s tragedy.
As someone who thinks Verdi is the greatest composer who ever lived and who feels pretty meh about Mozart, I expected to love the Verdi and be bored by the Mozart. I wasn’t far wrong.
When Norman Lebrecht is declaring on an almost daily basis that classical music is dead, it’s perhaps heartening that four of today’s prominent tenors have recently released what might be called fluff/vanity albums.
Our Own Jungfer Marianne Leitmetzerin (not pictured) takes us back to the turbulent 1970s at the Met for the spectacular company debut of electrifying Elena Obraztsova as Amneris.
I never thought I’d see the day when Giuseppe Verdi and Benjamin Britten would battle it out for musical superiority but that’s exactly what happened in Los Angeles this year.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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