For all the company’s good intentions this opera-dance combo was not one of its happiest outings.
The arrival of a new recording of Giuseppe Verdi’s Otello into the catalogue, to say nothing of a new tenor capable of singing Otello, is generally cause for hosannas all around in operatic circles.
“Trove Thursday” ushers in February with Catalani’s La Wally with a mountain-top cast of Renata Tebaldi, Renata Scotto, Mario del Monaco, Giangiacomo Guelfi and Giorgio Tozzi conducted by Carlo Maria Giulini.
On this day in 1957 soprano Martha Mödl made her Metropolitan Opera debut as the Siegfried Brunnhilde.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
One of the greats of classical music, Franz Joseph Haydn was a bit of an “also-ran” as an opera composer.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
Out of a literal perforation in the horizon of the Nebraskan prairie emerges Proving Up, the most convincing case I have ever seen for modern American opera.
Touting an austere, governessy program—the hour-and-change Schubert/Müller cycle, Die schöne Müllerin—Jonas Kaufman fulfilled his long-awaited, high-profile return to Carnegie Hall last night.
In the midst of Tosca month “Trove Thursday” assembles from the 60s to the 80s an Il Trittico in which each opera features an important Italian star.
Good singing and a dramatically potent (if conservative) production were an unbeatable combination in the Metropolitan Opera’s season premiere of Donizetti’s L’Elisir d’Amore.
There is some difficulty in describing just what IYOV the musical occasion is—and I’ll take refuge in calling it a musical work in the current PROTOTYPE Festival.
Composer Gregory Spears is a unique example of this maxim that one must be “deeply rooted in tradition in order to innovate with integrity.”
On this day in 1912 Pietro Mascagni’s Lodoletta had its United States premiere at the Metropolitan with Geraldine Farrar and Enrico Caruso in the leading roles.
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.
Headlining the Met’s current revival of both Cavalleria Rusticana and Pagliacci, Roberto Alagna was operating on all cylinders Monday evening.
Weekends at Aura Bar on 53rd and Ninth are typically big money makers for the morons who run the place. Jonjon and Yoni.
Der Rosenkavalier (on Blu-ray and DVD) is from the Met HD broadcast which also happened to be the final performance of the run, becoming a true souvenir of the farewells of its two leading ladies.
The more ignorant segments of the public and the critical establishment continue to shout praise to David McVicar‘s torpid Tosca as the greatest triumph of the reactionary since the Bourbon Restoration.
The Eloquence label of Australia, the down under-arm of Decca and now by extension Deutsche Grammophon, seems to specialize in the re-release of “Auld Lang Syne” treats.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
“Trove Thursday” celebrates with Carlos Kleiber conducting Johann Strauss, Jr.’s Die Fledermaus.
I had a panic attack, that’s how moved you made me.
J.S. Bach doesn’t get a lot of attention on this site although he wrote tons of vocal music.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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