There was a moment during Natalie Dessay’s performance of Schubert’s “Gretchen am Spinnrade” when the singer summoned the ghost of her former self.
In The Gypsy Baron (Der Zigeunerbaron), currently (through Sunday) enjoying a revival by the Manhattan School of Music Opera Theater, you get Strauss waltzes and patriotic marches.
Not a few eyebrows arched on social media when L.A. Opera appropriated the hashtag “Fight like a girl” on street level poster adverts all over town for the revival of their 2013 production of Giacomo Puccini’s Tosca.
Met audiences might have to wait a very long time for Die Meistersinger von Nürnberg.
Since no doubt the New York contingent of the cher public are already shuddering in anticipation of a Kristine Opolais Tosca as a “gala” New Year’s Eve treat, La Cieca thought you might enjoy—again, surely too strong a word—a preview of sorts.
The wild tempest that whipped and drenched the audience as it exited the Met after Tuesday’s season premiere of Wagner’s Der Fliegende Holländer mirrored the finer features of the evening.
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
Lakmé, stars Ruth Welting, Alfredo Kraus, and Paul Plishka, conducted by Nicola Rescigno.
Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better?
Any production of Der Rosenkavalier that can transform the usually excruciating first half of the third act into a hilarious romp already has my vote.
We leave behind the Vienna of the 1740s, the time of breeches, fans and white wigs.
A brilliant production of La Juive like that of Peter Konwitschny generalizes the message that mindless hate does not pay and the mindless mob is always the enemy of civilization.
Our selected Rosenkavalier video overview closes out the 20th-century selections, crosses the millennial mark, and includes the first of our performances to depart from the opera’s prescribed 18th-century setting.
Mr. Fabiano proceeded to pour gasoline over the audience and toss a lit match into the crowd with his rendition of “Granada.”
A week from tonight the Met premieres an eagerly anticipated new Der Rosenkavalier, its first in nearly 50 years—probably to the dismay of many grown used to the venerable Nathaniel Merrill–Robert O’Hearn production. As a preview “Trove Thursday” offers a live broadcast of Richard Strauss’s most popular opera with a delicious cast headed by Régine…
Massenet’s La Navarraise in a live performance featuring Rita Gorr as Anita and George Shirley as Araquil.
The New Amsterdam Opera Company presented a concert Forza (orchestra and chorus, yes; sets and costumes, no) at $35 a ticket.
Jacques Offenbach’s Les contes d’Hoffmann has had a bumpy ride to its pride of position in the current French repertoire.
“Trove Thursday” presents a recording of the rare L’Olimpiade featuring Joan Caplan and Rita Shane in the two leading castrato roles.
LoftOpera’s Saturday night performance of Rossini’s Otello successfully appealed to the essential kinetic energy of the operatic art form.
There is much to say about the similarities between the plot of Fidelio and the ancient myth of Orpheus.
The rewards of Leonore lie almost as much in the ensembles as the solo contributions.
This week’s feature is a classic Salzburger Festspiele performance from 1959 with the all-star cast of Leopold Simoneau, Lisa Della Casa, Kurt Böhme, Erika Köth, Walter Berry, Hans Hotter, Graziella Sciutti and Karl Dönch conducted by George Szell.
Washington National Opera continued a focus on recent works this season with Terence Blanchard and Michael Cristofer’s 2013 opera Champion on the life of boxer Emile Griffith.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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