Anticipating the first new local Aïda in thirty-six years, Chris’s Cache revisits Verdi’s popular opera in four unusually interesting in-house recordings from the Met 1961-1976.
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.
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.
When asked to express some “thoughts” here about Verdi’s Il trovatore, my immediate thought was “hmm… not a lot to think about there.”
There were, of course, other Chénier recordings beyond the truly great ones…
In 1982 I saw Turandot at the San Francisco Opera, the year after I became an opera fan, and it was my first live opera.
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.
Oh, La traviata, how do I love thee? Let me count the recordings.
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.
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
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”
To get right to the point, the performance did not come together despite some good elements and was a major missed opportunity.
One got a sense that the Met and the maestro directed most of the rehearsal and preparation toward the opening night premiere of the Heggie opus
Franco Bonisolli from age 28 to 33 in complete operas by Mozart, Cimarosa, Donizetti and Massenet.
The wicked poisoner showed herself in fine form, full of purple passion and lusty music-making that would gladden the heart of any bel canto enthusiast or opera lover in general.
On this day in 1974 Verdi’s I Vespri Siciliani had its Metropolitan Opera stage premiere.
When I saw that Richard Bonynge AC CBE, conductor and musicologist supreme, had authored a book titled Chalet Monet about the home he shared with his wife, La Dame Joan Sutherland OM AC DBE, in Les Avants, Switzerland I practically had to wipe my chin.
On this day in 1965 Montserrat Caballé and Sherrill Milnes made their Metropolitan Opera debuts in Faust.
The revival of Don Carlo(s) which opened on November 3 restored the translated Italian text and the cut 1882 four-act revision not seen at the Met since Rudolf Bing’s last season in 1972.
Edita Gruberová was one of the most fascinating individuals I have ever known.
These are my findings and opinions (and I welcome rebuttals)!
The worst criticism perhaps was the gleeful Schadenfreude noting Edita’s voice wasn’t as under her command as it used to be.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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