With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
One of the more unfortunate losses from the Met’s closure is its revival of Simon Boccanegra, so Trove Thursday steps up with a 1975 Berlin performnace of Verdi’s dark masterpiece with Ingvar Wixell, Gundula Janowitz, José van Dam and Bruno Prevedi.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
In Bellini’s opera Norma, the “padre” role of Oroveso, it may be safely said, is “undistinguished”—dull and conventional. The bass entrusted with the role usually will engender two reactions: more frequently than not, “Cut this boring music,” and rather more rarely: “What a pity Oroveso doesn’t have more music.”
“Trove Thursday ” presents Heinrich Marschner’s Hans Heiling in a 2001 performance from Berlin featuring Alessandra Marc as the title character’s mom, the Queen of the Elves.
“Trove Thursday” offers Così fan tutte with Pilar Lorengar, Josephine Veasey, Lucia Popp, Luigi Alva and Kieth Engen with Georg Solti conducting.
Awaiting the return of Parsifal to the Met, “Trove Thursday” hops to the other end of Wagner’s oeuvre with a recent Rienzi der letzte der Tribunen.
Another five-Thursday month invites “Trove Thursday” to offer a combo of shorter works.
Today’s offering is an electric performance of Verdi’s early potboiler Attila conducted by Giuseppe Sinopoli.
The 2016 Richard Tucker Award recipient is Tamara Wilson.
Now we have considered the three “winners” in the Tristan competition, let’s turn to the also-rans, or, to be more optimistic, the runners up.
With the performance of Dessì we move onto a different plane than the other singers.
Enthusiasts of Janácek’s opera will want to pick up this video immediately.
With the help of our friends at ArtHaus Musik, the Deutsche Oper Berlin have really been emptying out their archives and that’s certainly all for the good.
I got quite a surprise when I opened the latest packet of goodies from La Cieca – a DVD of Orphée aux Enfers, but in German as Orpheus in der Unterwelt.
Say this about Oedipus: The character’s got staying power.
A new CD
features the ten most gorgeous minutes recorded by a tenor in Wagner since World War II.
Sometime in 1753, Frederick The Great of Prussia, following a tiff with his great friend Voltaire, began writing an opera libretto in French prose that was to elucidate his ideas about the role of an enlightened monarch.
“This is the end of Western culture,” Richard Strauss proclaimed after a rehearsal of his penultimate opera Die Liebe der Danae, in Salzburg in 1944. The octogenarian composer, increasingly on the outs with the Nazis and switched off from contemporary music currents, could well have identified with his protagonist Jupiter, a once-mighty God caught up in an off-kilter…
When Hans Von Bülow joked that Rienzi was Meyerbeer’s best opera, he was not very far off the mark. In fact, Rienzi, der Letze der Tribunen, Wagner’s third opera, has all the traits of a typical “grand opéra”: it is divided in five acts, features a historical character or situation, makes large use of the…
A new CD set of Der Ring des Nibelungen, recorded live at the Bayreuth Festival in 2008, is slim on superstar casting, but basks in the reflected glory of conductor Christian Thielemann, a controversial artist with a passionate following. So how does the music measure up?
“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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