“Trove Thursday” offers Die Frau ohne Schatten conducted by Georg Solti and also featuring Regina Resnik, Donald McIntyre and the inevitable James King.
It’s been a rough winter in Chicago, and an especially rough one for lead singers at Lyric Opera of Chicago
Nina Stemme’s Elektra is familiar to me in three different incarnations.
Of course, Stemme had the character’s frenzied fury at her father’s murderers in hand, but she had far more nuance—at times this Elektra was seductive, sympathetic, loving, even humorous in her bitterness.
Patrice Chéreau‘s Elektra brims with ideas beyond its eschewing of the opera’s standard, hysterical trappings.
I count myself as privileged to have witnessed Götterdämmerungat the Royal Opera House during this season’s revival of Keith Warner’s Ring.
The conclusion of our Fanciulla del West video overview in three parts looks at a trio of performances from the 2010s.
The old adage “the third time’s the charm” proved to be the case with me and Daphne, Richard Strauss’s ravishing bukolische Tragödie, when I recently heard it performed by Franz Welser-Möst and the Cleveland Orchestra.
Christine Goerke‘s puzzling high register has become an increasingly troubling aspect of her singing. One just never knew what was going to come out from one moment to the next.
The 55th New York Film Festival presented the world premiere of Susan Froemke’s marvelous new documentary The Opera House in a special one-time-only screening at the Metropolitan Opera.
Published in 1975, James McCourt’s novel Mawrdew Czgowchwz is engaged with a longing for the divine.
Today’s Rusalka video overview covers filmed performances of Dvorák’s opera since 2010.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
Mariusz Trelinski unveiled a rather gloomy, though musically satisfying, Tristan und Isolde.
I have always wanted to see a production of Strauss’ Elektra that made my ears bleed.
This week, I offer you a classic rendition of Richard Strauss’ tale of the House of Atreus starring Ursula Schröder-Feinen, Astrid Varnay, Leonie Rysanek, Theo Adam, and Hans Hopf under Karl Böhm’s direction.
Washington National Opera’s first Ring Cycle came to a bittersweet conclusion this past Sunday, closing the door on an extraordinary three weeks in the opera house and a remarkable musical and theatrical achievement for the company.
While D.C. Wagnerians wait for Nina Stemme’s Brünnhilde to arrive next week, “Trove Thursday” presents the erstwhile Valkyrie of another compelling diva: Anna Caterina Antonacci as Brunehild, the heroine of Ernest Reyer’s Sigurd, a French grand opera also based on the Nibelungenlied.
The haunted Mycenae of Patrice Chéreau’s enthralling production of Richard Strauss’s Elektra had seized its viewers in an unrelenting vise that never relaxed even at its quietly shattering conclusion.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
A woman reads from the Bible. There is a dance scene in a tavern. The discovery of blood gives away the protagonist.
Two months after my last visit to this season’s sixteen-performance run of Puccini’s Turandot, I returned eager to witness the latest chapter in the sporadic Met career of Nina Stemme. Rising stars Anita Hartig and Alexander Tsymbalyuk also appeared in their roles for the first time at the Met, so Monday evening turned into a…
Maria Agresta‘s delicately-acted, sumptuously-sung seamstress transformed what might have been just an average Wednesday night revival into something finer.
Two years before she brought the role to Wiener Staatsoper in a production somewhat dominated by Jonas Kaufmann, soprano Nina Stemme sang her first-ever Minnie in La fanciulla del West at Stockholm’s Royal Opera.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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