Ross Wassermann tracks the development of “Che farò senza Euridice?” — and “J’ai perdu mon Eurydice” — for this month’s Perspectives on an Aria
Richard Lynn bravely asks what we’re hoping to get out of the continued Peter Gelb-bashing — and whether our expectations of him have ever been fair
Judith Malafronte on firebrand pedagogues, the old-school singing manual revival, and what many voice teachers are getting wrong.
When asked to express some “thoughts” here about Verdi’s Il trovatore, my immediate thought was “hmm… not a lot to think about there.”
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
Between them, Maria Guleghina, Marcello Giordani, James Morris and John Del Carlo have nearly 150 combined years of service on stage.
The reviews for Geraldine Farrar‘s Metropolitan Opera debut (Opening Night of the 1906-1907 season) could almost have been written by her own mother.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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