Those readers who know my musical tastes will not be shocked to find that I have a somewhat conflicted view of Mozart’s operatic works.
San Francisco Opera opened their 2018-19 Season Friday with a double bill of Italian verismo operas, Cavalleria rusticana and Pagliacci, which made a welcome return to War Memorial Opera House after 15 years.
The third installment of my 50th anniversary tribute to Edita Gruberova was impossible to narrow down to one selection.
“Trove Thursday” celebrates the thrilling Finnish soprano Karita Matilla in the ultimate diva role.
“Trove Thursday” offers a sparkling performance of Rossini’s La Cenerentola from our nation’s capital featuring the scintillating conducting of Claudio Abbado and Lucia Valentini-Terrani in the title role.
Jean-Pierre Ponnelle’s production of L’Italiana in Algeri for the Met remains steadfastly ignorant of postcolonial theory.
“Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams…”
“Trove Thursday” offers a Der Fliegende Holländer from New York City Opera featuring the underrated American soprano Johanna Meier.
The wonderful Spanish mezzo Teresa Berganza celebrates her 81st birthday next week and “Trove Thursday” gets the party started.
Who needs sets and costumes anyway?
The last day of December a parcel arrived in the mail containing an absolute delight: “Semiramide—La Signora Regale.” One of best vocal recordings of 2014, this sumptuous 2-CD set on Deutsche Harmonia Mundi features the marvelous Italian mezzo-soprano Anna Bonitatibus and includes 90 minutes of rarely-heard music written for the legendary Babylonian queen.
It seems almost comical to think now but the designer-director Jean-Pierre Ponnelle, who died in 1988, was at one time considered the height of regie-theatre scandal.
Kitsch is alive and well in Rossini’s La Cenerentola at the War Memorial.
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.
I’ve long been a fan of Kenneth Branagh, even though this fandom feels a bit like being a camel in the desert.
Die Zauberflöte is a perennial favorite with audiences, and modern productions have attracted top singers and production teams. Yet every production struggles with the performance text, particularly with the issues of race and sex. The dreams of the Enlightenment may be lovely, but the social mores of their dreamers have not aged gracefully. Despite a…
These days, when James Levine is mostly in the news due to his back ailments, it is somewhat shocking to see this performance of Le nozze di Figaro begin with the Maestro fairly dancing around on the podium as he conducts a sparkling rendition of the overture. It starts off a classic performance of Mozart’s…
Let me take you back, Parterreians, to the spring of 2009. Shortly before the Met’s new La sonnambula opened, murmurings began to be heard, rumors began to circulate. After the open dress rehearsal, reports were filed as opera fans looked on in horror. At the première, a shell-shocked audience rained down boos on the production…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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