Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
“Trove Thursday” presents a live Tristan 2 concert featuring one of my favorite dramatic sopranos. Gertrude Grob-Prandl.
“Trove Thursday” presents Falla’s La Vida Breve in a live concert version with Victoria de los Angeles, one of Spain’s greatest singers, as Salud.
On this day in 1957 soprano Martha Mödl made her Metropolitan Opera debut as the Siegfried Brunnhilde.
Opera Vlaanderen opened its 2017-18 season with a rare staging of Korngold’s Das Wunder der Heliane.
In May of last year tenor Piotr Beczala and soprano Anna Netrebko sang in Lohengrin for the first time under the baton of Christian Thielemann in his home house at the Staatskapelle Dresden.
Diana Damrau has chosen for her new Erato recital disc Grand Opera 11 high-flying showpieces from ten operas by Giacomo Meyerbeer.
In one important respect, a great production of Puccini resembles a great production of Wagner.
Seville bills itself as the “City of 150 operas,” and celebrated this fact at the Exposition of 1992 by erecting a magnificent new opera house, the Teatro de la Maestranza, right beside the Plaza de Toros.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
“Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams…”
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
Richard Wagner viewed dance as an essential element of art, though he used it sparingly in his operas.
In how many operas does the heroine drink poison and then go lengthily mad?
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.
Although the season is less than three weeks old, Metropolitan Opera audiences may hear nothing else this season as beautiful as Peter Mattei’s “Song to the Evening Star.”
My attempt at garnering some attention for forgotten and ignored Czech operas hasn’t exactly been a success.
The legendary Canadian heldentenor died on Friday. He was 88.
I was once accused—by my own mother, mind you!—of having too many recordings of Verdi’s Aida. The blistering audacity of that recrimination did get me to thinking: How many recordings of Aida is too many? I mean, you’ve got the old classic you cut your teeth on. Then there’s he one where the tenor and…
Harry Lawrence Freeman’s Voodoo, begun sometime before 1914, was completed and first heard on radio in May, 1928, then staged on Broadway later that year—seven years before Porgy and Bess, please note.
“Disciplined and intelligent.”
At the Opernhaus Zürich, the coat check is not optional.
Gluck’s Iphigénie en Aulide (1774), the occasion of his Paris debut, gets far less respect than her sequel, Iphigénie en Tauride.
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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