To celebrate the 100th anniversary performances of Turandot at the Met starting next week, Patrick Dillon gives a listen to seven versions of “Signore, ascolta!” for Perspectives on an Aria.
Victoria de los Ángeles has always been my Violetta of choice, a portrayal that never ceases to move me.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
It’s Norma, darling. We know.
It’s like making love with someone whose rap never ceases—and includes “helpful suggestions” about how you can be improving your game.
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.
When asked to express some “thoughts” here about Verdi’s Il trovatore, my immediate thought was “hmm… not a lot to think about there.”
Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.
In the lead up to LA Opera’s mounting of Turandot on May 18th (hooray!) I thought I’d touch on some of my favorite recordings and new re-masters I’ve discovered. I have them all.
Perhaps the greatest souvenir of her art there is.
LA Opera sent out an email warning that the production “contains depictions of blood, violence, and drug use, as well as strobe lights and a gunshot effect in Act III.”
Your favorite box set-aholic here completely missed the release last August of Giuseppe Di Stefano – Complete Decca Recordings in honor of the great tenor’s centenary.
Giacomo Puccini’s La fanciulla del West may have its detractors (Stravinsky referred to it as a “horse-opera’) but you will not find me among them.
I need to get something off my chest. I love bel canto.
On a new Opus Arte video, Ermonela Jaho is at the absolute peak of her powers both vocally and interpretively.
“Trove Thursday” escapes to an exotic place with Rimsky-Korsakov’s Sadko.
At “Trove Thursday” it’s May Night, Nikolai Rimsky-Korsakov’s 1880 comic opera, in a recent broadcast from Moscow led by pianist-conductor Mikhail Pletnev.
Usually the longer I know a work the more I look forward to rediscovering it, but that’s just not the case with the Verdi Requiem.
The second half of Warner Classics’ Maria Callas Live Remastered set represents the years 1954 to 1964 in the career of La Divina.
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.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
Anita Cerquetti had one of the most remarkable, most brief careers in opera in the past century.
Anna Moffo made some of the most entrancing records ever. Their appeal is to “voice fanciers.” (I understand. We’re a despised group.) But Moffo’s best work renders us helpless.
Giacomo Puccini’s final opus interruptus is and shall always remain my favorite opera. The reasons for this preference are so varied and numerous that if they were printed and bound the volume would most assuredly require its own stand.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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