Patrick Mack on the iconic Ethan Mordden‘s career and his first book on opera in 30 years – and it appears that time has mostly stopped in the Mordden manse.
There were, of course, other Chénier recordings beyond the truly great ones…
In 1982 I saw Turandot at the San Francisco Opera, the year after I became an opera fan, and it was my first live opera.
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
My sole live encounter with Seiji Ozawa coincided with his final appearances at the Metropolitan Opera, where he conducted its 2008 revival of Tchaikovsky’s Pikovaya Dama.
When our friends at Naxos and C Major announced near-dueling releases of Puccini’s “shabby little shocker,” I was ready with my critic’s pen dipped in bile.
On October 14, 1979 I spent my birthday attending my first all-star opera gala, thrilled at the chance to hear some of the great singers I’d only experienced on LPs, broadcasts or via my pirate reel-to-reel tapes.
In any case, we are now in the Queen’s garden of the Palace in Madrid. It is the day before the coronation of King Philip. Coronation? What coronation?
This solid if not stellar performance finds our diva in particularly passionate form. Maybe they should have re-titled it Maddalena?
In tribute to soprano Christiane Eda-Pierre, who died September 5.
Trove Thursday completes its Prévost–trifecta with Puccini’s Manon Lescaut starring Sondra Radvanovsky and (pre-Met) Aleksandrs Antonenko conducted by Riccardo Chailly plus an added Radvanovsky-Puccini bonus: Suor Angelica.
Trove Thursday bids adieu to 2019 with Bizet’s rare La Jolie Fille de Perth with the enchanting Christiane Eda-Pierre as the heroine who survives her madness.
Can a work with indisputably great music fail to add up to a successful opera? I puzzled over that Sunday during Teatro Nuovo’s essential concert staging of Rossini’s La Gazza Ladra at SUNY Purchase.
Brigitte Fassbaender‘s sound is piquant and, I’d hazard to guess, instantly recognizable to anyone familiar with her work.
“Non mi dispiace” seemed to be the general consensus in the loggione December 7 when Verdi’s Attila came roaring into La Scala to open the 2018-19 season.
Riccardo Chailly’s appointment as La Scala’s new music director was news that I greeted with enthusiasm when first announced in 2013.
To heck with Bayreuth and Salzburg, Glimmerglass and Santa Fe as Rosa Feola sang Mozart at Lincoln Center Friday night and I wouldn’t have been anywhere else!
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.
The Monday, 12th December, Weill Hall recital debut of Signora Chiara Taigi, a strikingly good looking Italian soprano, who had made her American operatic debut this past March, starring as Selika in the OONY production of Meyerbeer’s long-neglected L’Africaine, was something Your Own Camille had looked forward to with a high hopes and a faintly…
It is always a relief when one comes across a wonderful creation, a new existence, a rediscovery. One feels regret for not knowing it before, but alas, the joy overflows. The fear of unknown, the fear of leaving the comfort zone always ends up with enlightenment and embracing the new known. In this case, is…
First off, La Cieca should tell you that her producer/alter ego JJ will be heard this afternoon on WNYC’s talk show “Soundcheck” discussing (what else?) L’affaire Alagna. The program begins at 2:00 PM and JJ is scheduled to be heard in the final segment between 2:30 and 3:00. “Soundcheck” gained notoriety last month when uber-diva…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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