Zubin Mehta was a major part of musical life when I moved to Southern California in 1969, having started his tenure as music director of the Los Angeles Philharmonic.
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
I think Patanè did far more than just hold it together: he did full honor to Verdi.
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.
The old Nilsson/Corelli radio checks from the 1960s are a reminder that what this opera needs are VOICES.
A recent review of Olga Maslova as Aïda is as good a reason as any to share a clip of her fascinating Turandot
When such a canonically ossified work like Verdi’s Aïda is directed at all (let alone as ambitiously as Damiano Michieletto at the Maggio Musicale Fiorentino), it does feel like a completely different opera
Chris’s Cache highlights the erstwhile Chicago Symphony Orchestra @ Carnegie series with not one but two starry operas conducted by Georg Solti: Salome with Birgit Nilsson and a performance of Moses und Aron
Some people were introduced to the art form listening to the Met’s NBC broadcasts on a glowing tube radio or watching acid-trip animated adaptations on the BBC or seeing Elmer Fudd sing, “Kill the Wabbit.” I came to opera through simulated drive-by shootings soundtracked by The Marriage of Figaro.
As for complete recordings of Il trovatore, which was discussed at some length last week, there are at least 200 of them, both studio and live.
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.
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.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Welcome, beloveds, to the Jessye Norman Memorial Museum. I’ll be the docent for your tour today.
Alma Deutscher’s quest for beautiful music permeates the score of her Cinderella from the hushed opening of the Overture.
On this day in 1968 mezzo-soprano Shirley Verrett made her Metropolitan Opera debut as Carmen.
The crown jewel of this year’s Munich Festival is undoubtedly Richard Wagner’s Tristan und Isolde, which opened the Festival on June 29 and will close the Festival with an “Opera for All” screening on July 31.
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 still remember, and some of it quite vividly, what it was like to experience Achim Freyer‘s intense and groundbreaking Ring production all these years later.
They say you never forget your first.
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
Trove Thursday presents a double dose of the Verdi Messa da Requiem performed by the Los Angeles Philharmonic.
“Trove Thursday” drafts a 1960s All-Star team for Verdi’s Il Trovatore broadcast from the Teatro Colón.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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