Starring Jamie Barton, Orfeo ed Euridice returns to the Met next month for the first time in more than a decade so “Trove Thursday” offers two complete live versions of Gluck’s masterwork.
The Philadelphia Orchestra’s opening night concert, for better or worse, was not a gala evening starring Plácido Domingo.
It’s time for Plácido Domingo to man up and withdraw from the Met’s 2019-2020 season.
While Luciano Pavarotti may have brought opera to the people, once he realized how lucrative it could be, there was a string of promoters who helped him turn all that adoration into cold hard cash.
Michael Fabiano is a boss. This is a fact.
Lise Davidsen, the young Norwegian soprano who won the Operalia competition in 2015, makes her debut as a recording artist with the Decca label in a new recital of Wagner and Strauss arias and orchestral songs.
Verdi’s Giovanna d’Arco in a rare NYC concert performance with Margaret Price, Carlo Bergonzi and Sherrill Milnes.
As you can imagine, oaths are sworn, curses are flung with avidity, and a mysterious shepherd sings a tune of foreboding from a distant mountain gorge just when you’d expect it.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
Michael Mayer‘s production of La traviata at the Met is so timid, so devoid of insight, so cynically pandering and gaudy that I hardly feel like it even matters what I think of the performances of the current cast.
Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)
Barbara Hannigan‘s electrifying performance with the Juilliard Orchestra on Friday night proves that she is as much a force to be reckoned with on the podium as she is onstage.
The long evening didn’t achieve the degree of celebration it should have.
Diana Damrau‘s performance as Violetta was the work of a very ordinary artist, one susceptible to vocal flubs, poor intonation, and an all too banal approach operatic performance.
The proceedings took the virtue of longevity too much to heart; the night stretched on interminably.
The Hungarian State Opera and Hungarian National Ballet opened their visit to Lincoln Center Tuesday night with the US stage premiere of their “national opera” Bánk Bán.
“Trove Thursday” offers due local Lombardi: one with Renata Scotto and José Carreras, the other with Aprile Millo and Carlo Bergonzi.
How do we celebrate a long career in opera, particularly one as illustrious as Plácido Domingo‘s?
For this revisiting of Tosca, San Francisco Opera decided to highlight the glamorous lifestyle of the Italian soprano Carmen Giannattasio.
The conclusion of our Fanciulla del West video overview in three parts looks at a trio of performances from the 2010s.
Puccini’s Girl closes out the 20th century and gallops into the 21st.
For opening night of the new LA Opera season Placido Domingo decided to return to one of his best Verdi showcases, Don Carlo, only this time as the baritone, Rodrigo the Marquis di Posa, instead of the title character.
“Trove Thursday” gives a preview of Saint-Saëns’s Samson et Dalila with a broadcast featuring an unexpected temptress—Dolora Zajick—who will celebrate the 30th anniversary of her Met debut next month.
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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