“Trove Thursday” presents a complete Prodanà Nevesta (aka Die Verkaufte Braut, of course) by Smetana plus extended excerpts from a broadcast of Spontini’s La Vestale in its rarely heard original French version.
New Amsterdam Opera specializes in American singers whose abilities are as yet little known.
“Trove Thursday” goes modest with Donizetti’s domestic comedy Don Pasquale featuring Ileana Cotrubas, Alfredo Kraus, Vicente Sardinero and Wladimiro Ganzarolli.
Next week the Italian soprano Mariella Devia celebrates her 70th birthday so “Trove Thursday” salutes her with one of her earliest New York successes: Delibes’s Lakmé
“Trove Thursday” offers a vernal take on Massenet’s magical Cendrillon (in English) featuring two sopranos: Margaret Price—not yet 30—and Anne Pashley, then just 35.
Opera Vlaanderen opened its 2017-18 season with a rare staging of Korngold’s Das Wunder der Heliane.
An outstanding performance of Weber’s Euryanthe to share on “Trove Thursday.”
In The Gypsy Baron (Der Zigeunerbaron), currently (through Sunday) enjoying a revival by the Manhattan School of Music Opera Theater, you get Strauss waltzes and patriotic marches.
Let’s call this meeting to order. My name is Patrick and I’m a boxset-aholic.
According to the Svenska Dagblatet, the internationally renowned Swedish singer died yesterday.
Les Pêcheurs de Perles with an impressive Francophone cast headed by the superb Nadir of Alain Vanzo, one of my favorite tenors.
I am happy to finally add Les contes d’Hoffmann to the playlist in a Salzburg performance from 2003 with Neil Shicoff in one of his parade roles.
It’s time to add more legends to my Mixcloud site: Mario Del Monaco, Raina Kabaivanska, and Tito Gobbi star in this 1962 performance of Otello from Covent Garden led by Georg Solti.
Anna Moffo made some of the most entrancing records ever. Their appeal is to “voice fanciers.” (I understand. We’re a despised group.) But Moffo’s best work renders us helpless.
Between them, Maria Guleghina, Marcello Giordani, James Morris and John Del Carlo have nearly 150 combined years of service on stage.
It is easy to become overly identified with opera—as a cleverer friend of mine once noted: being a sports fan is an interest, but if you like opera, everyone thinks of it as a crippling obsession.
Imagine two tenors releasing French opera aria collections at the same time without duplicating a single track!
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
Even before Italian diva Mariella Devia had completed the stunning high D natural that capped her miraculous portrayal of Elisabetta in Donizetti’s Roberto Devereux Thursday evening at Carnegie Hall, tens, then hundreds of those in attendance leapt to their feet to shout their acclaim.
Among the many reasons La Cieca has to be thankful: the legacy of Mike Richter on his CD-ROMs.
Again dipping into the rich archive of live recordings remastered and made available by the late Mike Richter, we find this selection from his early disc “Odd Opera 2.”
The 19th century could not cope with Così fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers) with a libretto by Lorenzo da Ponte and music by Mozart, first presented in Vienna in 1790.
The big news from Bel Canto at Caramoor’s presentation of Les Vêpres Siciliennes last Saturday is far from unexpected.
They’ve been celebrating the centennial of Gian-Carlo Menotti lately, spouting wild claims for the immortality of his music. He did have an impressive run of successes in the 1940s, but he lived till 2007 with many more premieres and nary another hit.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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