After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
Parterre Box acknowledges Riccardo Muti‘s 600th performance with the Chicago Symphony Orchestra by highlighting two of his favorite singers — under a different conductor.
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.
Next Marko Mimica discussed which music “reached” him most and how he regards expressing himself in various languages.
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
In Bellini’s opera Norma, the “padre” role of Oroveso, it may be safely said, is “undistinguished”—dull and conventional. The bass entrusted with the role usually will engender two reactions: more frequently than not, “Cut this boring music,” and rather more rarely: “What a pity Oroveso doesn’t have more music.”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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