State of siege
An amateurish production of Le siège de Corinthe, combined with heavy-handed conducting, at Pesaro weakens the defenses of one of Rossini‘s most topical operas.
An amateurish production of Le siège de Corinthe, combined with heavy-handed conducting, at Pesaro weakens the defenses of one of Rossini‘s most topical operas.
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.
Lorenzo Molajoli is a mysterious figure.
I trust, fellow Parterre readers, that we can all agree that Riccardo Muti is a great opera conductor.
While it may not be top-tier Rossini, Teatro Nuovo’s mounting of Il turco in Italia is still good summer fun.
Lucia di Lammermoor at La Scala, starring Rosa Feola, proves as airless as this summer’s heatwaves.
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.
Greek National Opera’s Medea in the ancient theater at Epidaurus is an intermittently rewarding exercise in nostalgia.
Giannina Arangi-Lombardi never sang at the Met.
After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
A full century after her heyday, Argentine soprano Hina Spani still moves us thanks to her vivid recordings and the savants who have cherished and shared them.
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