A fascinating autobiography that delivers both on the diva anecdotes and on intelligent artistic observations about the singer’s life.
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
Frankly I thought Sondra Radvanovsky had reached her pinnacle with her Norma but I was apparently mistaken. I’m happy to say her Turandot is completely next-level.
On this day in 1992 the Metropolitan Opera presented a new production of Lucia di Lammermoor directed by Francesca Zambello (not pictured.)
On this day in 1956 the Metropolitan Opera opened its season with Maria Callas in Norma.
On this day in 1956 Maria Callas made her Met debut as Norma.
Joyce DiDonato’s take on Winterreise is a conceptual misstep that, song after song, frustratingly dilutes and distracts from an often rewarding musical performance.
A sense of celebration was definitely in the air last Thursday at the Vienna State Opera.
The aphorisms projected before each act of Das Wunder der Heliane suggested the work concerns the transformative power of love—but does it really?
A live broadcast of the prologue to Ariadne auf Naxos featuring Julia Varady, a favorite sopranos in a role she sang only rarely.
The glorious and beloved Elisabeth Söderström tackles the fiendishly difficult role of Christine in a 1974 performance from Glyndebourne.
A great man has passed and our consolation is that so much of his art has been preserved for us on recordings.
Christian Thielemann has proved himself to be the preeminent Strauss interpreter of the current generation of conductors and he’s in striking form here.
Richard Strauss’s “last romantic opera,” as he called Die Frau Ohne Schatten, is and has always been a problem child.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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