“Trove Thursday” pays tribute to Dmitri Hrovostovsky with a broadcast of his final new role, Rubinstein’s The Demon.
“Trove Thursday” celebrates the thrilling Finnish soprano Karita Matilla in the ultimate diva role.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
The centerpiece of Janácek’s Jenufa was the performance of Karita Mattila as the murderous Kostelnicka.
I was hopeful that my next operatic engagement would offer greater rewards: Norma at the Edinburgh Festival.
This Sunday marks the 10th anniversary of the death of Lorraine Hunt Lieberson from breast cancer.
This may be Karita Mattila’s greatest role.
“Trove Thursday” presents Sena Jurinac‘s radiant portrayal of Janacek’s Jenufa opposite the implacable Kostelnicka of Martha Mödl.
Sir Richard Eyre’s new Manon Lescaut at the Met Friday night demonstrated no particular aptitude for opera.
With February 14th falling on a Sunday, there will be no Valentine’s Day Met performance this year.
Between them, Maria Guleghina, Marcello Giordani, James Morris and John Del Carlo have nearly 150 combined years of service on stage.
If you had told me 20 years ago that at some point in the future I would have over 550 of the Metropolitan Opera’s performances, audio and video, at my command with the touch of a button I would say my eulogy had just been read and I’d been taken to my reward.
There is a simple elegance to the single-composer recital album format. For the listener in the mood for, say, Puccini, it’s a chance to delve into his music without any pesky interruptions by those other guys like Verdi or Massenet. And if one is also in the mood for a particular singer’s art, then the…
Enthusiasts of Janácek’s opera will want to pick up this video immediately.
I was greatly anticipating Karita Mattila’s recital on Friday in Toronto’s Koerner Hall.
Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich.
Karita Mattila is a gift to this planet.
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?
Before you depart the Met at the end of this season, Ms. Billinghurst, you have the chance to do some good for both the Met audience and James Levine.
Recently your doyenne engaged in an email-based interview with David Alden, director of the Met’s new production of Un ballo in maschera, opening on Thursday.
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.
La Cieca’s spy reports from the Met: “A promising and delightful final dress of Ariadne yesterday.”
“Mirror, mirror on the wall, who are the greatest divas (Classic and Contemporary) of them all?” And the mirror replied, “I’ll tell you right after the jump!”
Okay, so here’s that Luc Bondy production of Tosca again, this time as seen at the Bayerische Staatsoper earlier this summer, with the “original cast” of Karita Mattila and the singer who did all the rehearsals in New York until the last week, Juha Uusitalo. They rehearsed again for the co-production in Munich for festival performances and…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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