On this day in 1958 Samuel Barber‘s Vanessa had its world premiere at the Met
On this day in 1918 Pietro Mascagni and Giovacchino Forzano’s Lodoletta had its United States premiere at the Metropolitan.
Nothing says “diva” like an insane recital program.
This Carmen, in other words, was somewhat less radical than its initial image suggested.
New York shall never be in need of another Messiah to assist to during the holiday season, but a new tradition is beginning to crystallize at the cavernous St. John the Divine to rival it.
There is a strong case to be made that George Fridrich Handel is the composer most suited to the present moment.
When the Staatskapelle Berlin announced a two-night engagement at Carnegie Hall performing all four Brahms symphonies, I immediately made a note in my calendar to attend. I also wondered who would be the conductor when the announced Daniel Barenboim inevitably withdrew.
A perfect escape for a city laden with recent layoffs and job cuts coming into Holiday season
Washington Concert Opera’s season opened with a triumphant performance of Gioachino Rossini’s rarely heard Ermione Saturday night at George Washington University in D.C., led by Antony Walker and a stellar quartet of principals in Angela Meade, Lawrence Brownlee, David Portillo, and Ginger Costa-Jackson.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
Readers, writers, and stars reflect on the 30th anniversary of “the most essential blog in opera” (NYT)
As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
parterre box turns 30 on Sunday and writers from around the box are reflecting on the legacy of founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
parterre box turns 30 on Sunday and writers from around the box are reflecting on the legacy of founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
Chris’s Cache wraps up November with Régine Crespin’s Chicago Leonore; two rare Met Fidelios headed by Christa Ludwig and Hildegard Behrens; and a concert performance with Birgit Nilsson led by Leonard Bernstein, plus a final twist: excerpts of Carol Vaness in Leonore.
I can still vividly remember the first time the music of George Frideric Handel made an impression on me.
In its Met premier, neither a talented cast nor some beautiful musical moments were enough to make Florencia feel new or vital.
Gioachino Rossini’s adorable adaptation of Cinderella famously dispenses with a slipper in favor of a bracelet to lead the Principe Ramiro back to his Cenerentola. If only this performance had benefitted from such a glittering guiding hand.
“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”
Let’s not forget that it’s only been two years since the Met mounted its first-ever opera by a Black composer.
Two of France’s leading Early Music ensembles recently visited New York City to perform music by some of the 17th century’s leading composers.
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
When the New York Philharmonic announced Gustavo Dudamel as its next music director earlier this year, speculation arose immediately as to who would take his place out West when he leaves the Los Angeles Philharmonic in 2026.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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