Matthew Travisano takes on Mimì’s Act III aria from La bohème — not that one, the other one — in the latest installment of the “Perspectives on an Aria” series
Late Callas singing Maria from “Figlia del Reggimento” a role she wisely never attempted on stage.
In terms of elegance and beauty of execution, Renato Bruson is in a class by himself among Donizetti baritones.
Following a review by Christopher Corwin, figures from in and around the box react to Pablo Larraín‘s new film Maria
Christopher Corwin reviews Pablo Larraín‘s Maria
In a splashy new recording of Norma, Marina Rebeka “is doing something very untoward, and it appears destructive to her voice.” It has Niel Rishoi worried.
Lisette Oropesa, a product of the Metropolitan Opera Lindemann Young Artist Program, has not been seen much on the stage of the Met in recent seasons.
As for complete recordings of Il trovatore, which was discussed at some length last week, there are at least 200 of them, both studio and live.
Patrick Mack on the iconic Ethan Mordden‘s career and his first book on opera in 30 years – and it appears that time has mostly stopped in the Mordden manse.
Lincoln Center is in full diva mode. Or at least that is what it seemed as I passed the line of posters outside Alice Tully Hall for the forthcoming Maria Callas biopic.
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.
Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.
Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.
In the lead up to LA Opera’s mounting of Turandot on May 18th (hooray!) I thought I’d touch on some of my favorite recordings and new re-masters I’ve discovered. I have them all.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
Maria Callas’s official debut in opera was as La Gioconda in 1947 at the arena in Verona.
It’s time to discuss Zinka Milanov.
Amilcare Ponchielli’s La Gioconda might not be a perfect opera (though I don’t see why not) but it is one of my favorites…
Anna Bolena is one of the many works by Donizetti which, after their modern recovery in the second part of the last century, have both never fully left the stage while simultaneously never becoming a repertoire staple Lucia di Lammermoor or L’elisir d’amore.
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Perhaps the greatest souvenir of her art there is.
Zachary Woolfe reflects on the legacy of parterre box founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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