In anticipation of the Met’s reopening performance on September 11, another serving of pandemic-hoarding arrives on Trove Thursday with 10 rare live performances of the Verdi Requiem’s concluding “Libera me.”
Were Joan Sutherland and Marilyn Horne 20th century opera’s ultimate same-sex pairing?
Trove Thursday celebrates Christa Ludwig with live excerpts from 1955 through 1982.
The American Opera Society introduced many important singers to New York City audiences, but few were as controversial as the Greek soprano Elena Souliotis; Trove Thursday offers her local debut (at age 23) in Anna Bolena with Marilyn Horne, Janet Baker, Plácido Domingo and Carlo Cava.
With La Scala’s plan to open on December 7 with a new Lucia di Lammermoor thwarted, Trove Thursday sets its Wayback Machine to nearly 50 years ago to present two of the 20th century’s greatest madwomen—Joan Sutherland and Beverly Sills—denounced by Plàcido Domingo and Alfredo Kraus respectively, with the former pair consoled by Kurt Moll‘s luxurious Raimundo.
Trove Thursday uncovered two broadcasts of Donizetti’s Lucrezia Borgia that share a fascinating nexus: in each an enduring superstar tenor—José Carreras/Alfredo Kraus—is poisoned by a soon-to-vanish rising-star soprano—Vasso Papantoniou/Margarita Castro-Alberty.
I need to get something off my chest. I love bel canto.
Today’s Trove Thursday was originally scheduled for February 27, which would have been Mirella Freni’s 85th birthday, but instead we remember today the beloved soprano who passed away this past weekend in Puccini.
I can’t think of an opera this year that I’ve enjoyed as much as Tuesday’s Met Macbeth, thanks especially to the smashing house debut of Italian soprano Anna Pirozzi as its blazing Madame M.
Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
While Luciano Pavarotti may have brought opera to the people, once he realized how lucrative it could be, there was a string of promoters who helped him turn all that adoration into cold hard cash.
Michael Fabiano is a boss. This is a fact.
Verdi’s Giovanna d’Arco in a rare NYC concert performance with Margaret Price, Carlo Bergonzi and Sherrill Milnes.
Mussorgsky’s Boris Godunov must be Russian’s most iconic opera and “Trove Thursday” presents it with Claudio Abbado leading an impressive team.
Riccardo Chailly’s appointment as La Scala’s new music director was news that I greeted with enthusiasm when first announced in 2013.
Tuesday the Met unveils its sixth new production of La Traviata since moving to Lincoln Center.
“Trove Thursday” offers due local Lombardi: one with Renata Scotto and José Carreras, the other with Aprile Millo and Carlo Bergonzi.
“Trove Thursday” gives a preview of Saint-Saëns’s Samson et Dalila with a broadcast featuring an unexpected temptress—Dolora Zajick—who will celebrate the 30th anniversary of her Met debut next month.
Caramoor imported the venerable West-Coast period orchestra Philharmonia Baroque to perform Atalanta, an obscure pastoral work by Handel.
Maria Callas’s most outstanding Adalgisa, out of all she partnered with, was Fiorenza Cossotto.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
“Trove Thursday” celebrates with Carlos Kleiber conducting Johann Strauss, Jr.’s Die Fledermaus.
Last week, a pair of terrific recitals demonstrated what kind of intimate spell a dramatic singer can cast when left alone with a piano.
In Andrea Chenier an unexpected Canadian star-tenor relishes beheading alongside a far less well-known Italian diva: Jon Vickers and Ilva Ligabue.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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