Franz Liszt attempted practically every musical genre in vogue in the nineteenth century, although it is undeniable that a handful of the genres he only sampled (like string quartet) or adapted to his own temperament in original ways (like the symphony).
Otto Nicolai’s Il Templario with Juan Diego Flórez, Clémentine Margaine and Luca Salsi.
Those who want a rethought Lucia to allow the heroine more sense of agency will be especially confounded at Laurent Pelly’s reading.
Perhaps there are not that many people in the world who would look at a CD cover and think “Oh, goody, goody! A libretto by Eugène Scribe I’ve never come across before!”
I own almost every recording of the 13 operettas Sir Arthur Sullivan wrote with W.S. Gilbert ever made. Twelve Mikados, 14 Pirates of Penzance, 10 Iolanthes, right on down the line to the rarely heard Utopia, Ltd. I was a G&S fan long before I got into opera; when I was a teenager, their operettas…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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