San Francisco Opera hosts an exuberant tribute to queerness past and present.
Are today’s stars enough to sustain Andrea Chénier?
Lincoln Center is in full diva mode. Or at least that is what it seemed as I passed the line of posters outside Alice Tully Hall for the forthcoming Maria Callas biopic.
Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.
Amilcare Ponchielli’s La Gioconda might not be a perfect opera (though I don’t see why not) but it is one of my favorites…
Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.
This solid if not stellar performance finds our diva in particularly passionate form. Maybe they should have re-titled it Maddalena?
Without furnishings to distract them, the cast prowled the stage with sinister energy, exchanging significant looks and deadly secrets as though fearing Nihilists behind every drapery.
In Andrea Chenier an unexpected Canadian star-tenor relishes beheading alongside a far less well-known Italian diva: Jon Vickers and Ilva Ligabue.
For her first CD in six years, Angela Gheorghiu has chosen Italian repertoire.
Jonas Kaufmann announced that he feels ready to return to the stage after calling in sick since last autumn
It was while attending a performance of Fédora in Naples in 1885 that eighteen year-old Umberto Giordano fell in love with Sardou’s then immensely popular play; the protagonist was none other than Sarah Bernhardt, the creator of the title role. He immediately asked the French dramatist to sell him the rights, a request Sardou did…
“Voglio essere giudicato per la musica e nient’altro che per la musica.” “I want to be judged for my music and nothing but my music.” This phrase, which Mascagni himself wrote to his publisher Sonzogno, is the key to understanding the very essence and existence of L’amico Fritz (1891). Cavalleria rusticana, Mascagni’s first performed opera,…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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