A Pasolini-inspired Tosca at La Monnaie does not quite find the pleasure in the pain.
John Danaher on the world-premiere recording of Clémence de Grandval‘s wild and worthy Mazeppa, the latest release from the operatic archaeologists at Palazzetto Bru Zane.
Adela Zaharia and Amartuvshin Enkhbat shine brightly in San Francisco Opera’s opening night Rigoletto.
It used to be proverbial on the Met Opera Quiz, usually quoted by quiz master Edward Downes: “If you can’t remember where a certain plot event occurs … it happens in La Gioconda.”
The court of Mantua has run away to join the circus; Washington, DC and Baltimore’s experimental opera company, IN Series, transformed Giuseppe Verdi’s Rigoletto in a new production set under the big top this winter.
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…
The wicked poisoner showed herself in fine form, full of purple passion and lusty music-making that would gladden the heart of any bel canto enthusiast or opera lover in general.
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
Renée Fleming presented a satisfyingly eclectic and quietly daring program of songs and arias, an interesting timestamp on a career that, despite its crepuscular vibe, seems as active as ever.
Uneven operas, like Verdi’s Ernani, which just recently finished its Scala run, more often work as theatre on the micro level than the macro.
Tanglewood may bring the classical music crowd to Lenox, but for opera, it’s all about neighboring Pittsfield, Mass.
It could get loud. It often does, especially when the soprano is mere inches from your ears, pleading with the duke for the life of the poor boy (parentage unknown) who insulted her notorious dynasty.
Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts.
I think we’re all aware by now of the wicked libel that the French dramatist Victor Hugo concocted about the fair Lucrezia Borgia with his depiction of her as a murderous virago.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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