Thoughts on <em>La Gioconda</em>: the others Thoughts on <em>La Gioconda</em>: the others

Yes, there were other Giocondas if not of quite the same distinction. Chronologically…

Thoughts on <em>La Gioconda</em>: Tebaldi Thoughts on <em>La Gioconda</em>: Tebaldi

Renata Tebaldi had one major advantage over Milanov and Callas (and most other sopranos): she was Italian.

Thoughts on <em>La Forza del destino</em>: recordings Thoughts on <em>La Forza del destino</em>: recordings

As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.

Sacred raptures cheer my breast Sacred raptures cheer my breast

The English Concert’s annual Handel tour brings Solomon conducted by Harry Bicket to the US beginning Sunday March 5. In anticipation, Chris’s Cache offers Solomon plus four other oratorios by the master:  Belshazzar, Hercules, Saul and Jephtha, all via broadcasts for which I feel a personal connection.

Nothing to sneeze at Nothing to sneeze at

This week’s Trove Thursday—Kodály’s Háry János in a 1955 RAI broadcast in Italian led by famed Hungarian conductor Ferenc Fricsay—may be a bit brief as C-19 finally arrived last week chez CC.

Shining through Shining through

Trove Thursday celebrates Christa Ludwig with live excerpts from 1955 through 1982.

Old-Fashioned Oratorio Old-Fashioned Oratorio

For the fourth annual edition of “Handel for my birthday” Trove Thursday serves up three heaping portions of “old-fashioned oratorio.”

Divinity, restored Divinity, restored

All the daring and imagination of La Divina’s live work, particularly in the early years, is revealed in Warner Classics’ Maria Callas: The Live Recordings.

It happened one knight It happened one knight

Falstaff, Verdi’s totally unexpected, final, great comedic roar.

Keeper of the flame Keeper of the flame

Several prima donnas have ought to resurrect La Vestale, including Renata Scotto, whose priestess highlights this week’s “Trove Thursday.”

Bridging the Channel

It’s kind of shocking, when you really think about it, that the kind of international operatic model that the Royal Opera now operates on barely existed only 50 years ago. Until around 1960 most of the performances at the Covent Garden were given in English and the casting choices were enough to make the Vicar…