Júlia Várady‘s smoldering, almost feral Sieglinde from the Sawallisch/Lehnhoff Ring, remains my favorite.
In the lead up to LA Opera’s mounting of Turandot on May 18th (hooray!) I thought I’d touch on some of my favorite recordings and new re-masters I’ve discovered. I have them all.
On this day in 1958 soprano Inge Borkh made her Metropolitan Opera debut as Salome (paired, of all things, with Gianni Schicchi)
Nothing says “diva” like an insane recital program.
On this day in 1958 soprano Inge Borkh made her Metropolitan Opera debut as Salome.
Off-and-on since last fall my PPP (Personal Pandemic Project) has been assembling a chronology of the American Opera Society. For 19 years beginning in 1951 it presented a remarkable series of concert performances of works unperformed by either the Met or New York City Opera.
Born on this day in 76 AD Roman Emperor Hadrian.
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.
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.
On this day in 1958 soprano Inge Borkh made her Metropolitan Opera debut as Salome.
“Trove Thursday” offers Die Frau ohne Schatten conducted by Georg Solti and also featuring Regina Resnik, Donald McIntyre and the inevitable James King.
This week’s star-spangled “Trove Thursday” offers the second crazy-quilt installment of divas in the wrong language.
Trove Thursday offers a pair of live broadcasts of Médée featuring two compelling mid-20th century divas—Inge Borkh in German and Eileen Farrell in Italian.
Weekends at Aura Bar on 53rd and Ninth are typically big money makers for the morons who run the place. Jonjon and Yoni.
There has been a conspicuous absence of chat on Parterre about this year’s Bayreuther Festspiele.
Mr. Peabody, that Leonardo among canines, claimed she was suffering from toothache.
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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