81 pieces since 2006 — in 12 roles, at 3 companies, most often at Metropolitan Opera.
Trove Thursday began on September 10, 2015, so today we celebrate the podcast’s fifth birthday with a diva-starry Aïda double-bill: Galina Vishnevskaya vies for her soldier-hero with Irina Arkhipova, then Jessye Norman wins the guy (but loses her life) in spite of Mignon Dunn.
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
2017 happily brings the return of Trove Thursday with a rare and enthralling live performance of Gluck’s Alceste featuring Jessye Norman.
“Hey the line forms, on the right dear / Now that Macheath’s back in town / You’d better lock your doors, and call the law / Because Macheath’s back in town.” So concludes Marc Blitzstein’s famous English translation of the song that opens Die Dreigroschenoper.
The Met’s recent Ariadne auf Naxos and Elektra combo left me wanting more and more Richard Strauss, so Trove Thursday offers a complete Capriccio with Jonas Kaufmann (his one-and-only Flamand) and Christopher Maltman vying for Soile Isokoski.
A pair of Hasse works: the all-male oratorio I Pellegrini al Sepolcro di Nostro Signore, plus the popular serenata Marc’Antonio e Cleopatra.
Janácek’s Makropulos Case has only chalked up thirteen performances in three previous runs at the Met and will have just five more this season. Try to catch at least one.
An outstanding performance of Weber’s Euryanthe to share on “Trove Thursday.”
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?
When my editor suggested to me a round-up of my favorite recordings of Jacques Offenbach’s Les Contes d’Hoffmann I was très, très, intrigued.
For more than 40 years, the magnificent opening image from Francis Poulenc’s Dialogues des Carmélites has served as an icon for the Met.
When LaCieca asked me to choose my favorite live recording, I had to think… and think.
It’s Easter season, and that can mean only one thing for opera: It’s Cavalleria Rusticana time. And I, for one, couldn’t be more excited.
It took me a while to “warm up” to Wagner.
My sole live encounter with Seiji Ozawa coincided with his final appearances at the Metropolitan Opera, where he conducted its 2008 revival of Tchaikovsky’s Pikovaya Dama.
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
Quinn Kelsey and Lise Davidsen star in the Met's new Macbeth. We're giving away one ticket, so screw your courage to the sticking place and enter now!
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