A little off the top
Beaumarchais clearly delighted in this unobtrusive realm.
44 pieces since 2012 — in 15 roles, at 6 companies, most often at Metropolitan Opera.
Beaumarchais clearly delighted in this unobtrusive realm.
Pretty Yende was still hanging around after her last Barbiere and she knows the role of Elvira, having sung it in Zurich last June.
Someone—a deranged purist no doubt—heckled Javier Camarena from the balcony of the opera house for withholding the infamous high F during “Credeasi, misera.”
Some ideas are so absurd that the only way to describe them is to simply use the liner notes.
Lyric Opera of Chicago has opened its new season with a revival of its tried and true 2006 production of Verdi’s sixteenth opera, Rigoletto, one of his most tuneful and dramatic works (I attended the Sunday matinée performance).
With no disrespect to Nadine Sierra, who as Lucia acquits herself honorably if not magically in vocal terms, the undisputed cause célèbre here is director Simon Stone.
New York City isn’t a bad place to live, operatically-speaking.
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
The hostile reaction to the Mary Zimmerman production of La sonnambula was well documented after the premiere in 2009.
It may be blasphemy to admit—particularly this month—but usually I can either take or leave Donizetti’s serious operas. However, I love the composer in comic mode, so Chris’s Cache runs with that sentiment in offering three recordings of Don Pasquale.
These days a cadre of voluble opera-goers regularly issues dire warnings that anyone about to attend this or that production at the Met should close her eyes and just listen rather than witness yet another Peter Gelb regie “atrocity.”
Verdi’s only successful comic opera, Falstaff, is notably hard to produce.
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.
The legions of New York opera buffs who now can’t talk about anything but Javier Camarena will be happy to know that there’s now a DVD release of their new favorite tenor in Rossini’s Le Comte Ory available.
From the multiple standing ovations, to say nothing of the gentleman in the front row waving the Mexican flag, I can safely say that a very good time was had by all.
Alexander Birch Elliott‘ s dynamic if gauche Zurga added some pizzazz to an otherwise bland evening.
Georges Bizet’s Les pêcheurs de perles has been knocking steadily at the door of the standard repertoire now in this country for quite some time.
On paper, the Met’s revival of L’elisir d’amore looked like a lovely evening. And at times it was—a few scenes hinted at what it could be and what it might yet become.
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
Before there was Verdi’s Otello, Rossini’s Otello was considered the master operatic adaptation of Shakespeare’s tragedy.
Starring Pretty Yende, Stephanie Blythe, Kathleen Turner, Javier Camarena, and Maurizio Muraro, conducted by Enrique Mazzola. Production by Laurent Pelly. From March 2, 2019.
La Fille du Régiment, Donizetti’s half-spoken ode to La France about a girl raised by a division of daddies, is at once infamous and beloved for the string of nine high C’s capping act one.
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
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