Although presented as an overview of the performance of Italian opera from the first half of the 19th century, Divas and Scholars is really an impassioned defense of musicology as a discipline and of Italian opera as a subject worthy of scholarly attention.
Following the composition of Un ballo in maschera, Verdi had gone into a self-imposed retirement, at least musically; he had not composed a note in four years.
I need to get something off my chest. I love bel canto.
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
As a diehard completist I felt guilty as the Met’s scattered, campy revival of Semiramide lumbered toward its abrupt conclusion after nearly four hours.
“Semiramide—a better opera than this dude expected!”
A week from Saturday Will Crutchfield’s “Bel Canto at Caramoor” ends a 20-year run with Il Pirata.
The American musicologist died earlier today in Chicago.
Tancredi, given on February 10th, was a credit to Opera Philadelphia, who offered a well-considered and compelling production.
Andrea Andermann is the veteran film producer who had the notion to assemble top-flight talent from the worlds of music and cinema for a generously funded film of Tosca.
The last day of December a parcel arrived in the mail containing an absolute delight: “Semiramide—La Signora Regale.” One of best vocal recordings of 2014, this sumptuous 2-CD set on Deutsche Harmonia Mundi features the marvelous Italian mezzo-soprano Anna Bonitatibus and includes 90 minutes of rarely-heard music written for the legendary Babylonian queen.
The legions of New York opera buffs who now can’t talk about anything but Javier Camarena will be happy to know that there’s now a DVD release
of their new favorite tenor in Rossini’s Le Comte Ory available.
Say what you will about Naxos, but this company has created a sizeable number of recordings of works on the periphery of the standard repertory and have managed to document quite a few interesting singers in the bargain-and at bargain prices.
Giuseppe and I have always had a complicated relationship.
For better or worse, Decca’s new Norma recording
will ultimately be embraced—or dismissed—by those reacting directly to Cecilia Bartoli’s controversial portrayal.
Karol Szymanowski’s 1926 King Roger was the sleeper hit of SFO’s season, not so much for its weird, mystical theme and feeble libretto but because the music is powerfully effective.
What impressed La Cieca at the Caramoor concert of Semiramide on Friday was not so much the quality of the performance (though that was on a solidly high level) but the magnificence of the work itself. This magnificence stands out now in even greater relief after the comparison with Les Huguenots later in the weekend.
One of La Cieca’s most trusted spies wangled his way into the house last night for the surprise cast change in Lucia di Lammermoor, and here’s his report: Perhaps it is the side benefit of low expectations, but I was not offended by Anna Netrebko‘s performance on Tuesday night. Though certainly not a bel canto…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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