I’ve only heard one performance that could be described as ‘filth.’
“Vesselina’s Chest Voice” is my new drag name.
Les Contes d’Hoffmann is something of a puzzle in which some of the pieces are missing and others been altered to fit since Offenbach died before he could complete and revise the work.
Too young to be in love. But not too young to go to war or to die.
A convocation of mezzos–and a pride of tenors–produce hundreds of sixteenth notes in a bewitching Rossini showpiece
Joining the Met’s week of bel canto reruns and Tuesday’s premiere of Teatro Nuovo’s exciting new project, Trove Thursday presents Bellini’s I Capuleti ed I Montecchi with Tatiana Troyanos and Cecilia Gasdia.
Vincent Boussard’s 2011 take on Bellini’s I Capuleti e i Montecchi returned on Saturday (May 12) to Munich’s Nationaltheater.
Few singers today cause me as much consternation as Vivica Genaux.
Joyce DiDonato enjoys the rare cachet of having three studio-recorded operas released in the past three years while other famous divas must be content with “just” DVDs. Although two of Renée Fleming’s Violettas have found their way onto video in less than five years (why??), “the people’s diva” has only recorded one studio opera in…
Despite baby-steps over the years, America’s musical scene, especially opera, remains decidedly un-HIP. (HIP: “historically-informed performance,” also called “period performance.”) While European opera houses turn increasingly to “original instrument” orchestras and specialist singers for seventeenth and eighteenth century works, this rarely occurs in the US.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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