A live broadcast from Milan
Revivals of Falstaff in Milan and Don Carlo in Naples have Larry Wolff thinking across the six decades of Verdi‘s career
A live opening night broadcast from Rome.
The forces of the Teatro La Fenice in a performance of Respighi‘s opera recorded last spring at Venice’s Teatro Malibran
Carmen Giannatasio sings her first Minnie, under Riccardo Frizza, in a live broadcast from Bologna.
Following a review by Christopher Corwin, figures from in and around the box react to Pablo Larraín‘s new film Maria
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Christopher Corwin reviews Pablo Larraín‘s Maria
Michael Steinberg on Riccardo Muti, fascism, and who speaks through the collective voice of the Verdi Requiem.
As for complete recordings of Il trovatore, which was discussed at some length last week, there are at least 200 of them, both studio and live.
Sparks flew when the San Francisco Opera opened their new production of Richard Wagner’s monumental Tristan und Isolde on Saturday, October 19th, at the War Memorial Opera House.
On this day in 1965 soprano Mirella Freni and tenor Gianni Raimondi made their Metropolitan Opera debuts in La bohème
My vision may have been slightly blurry at the end.
Overall, this was a superb achievement and a thrilling season opener for the San Francisco Opera.
Only by knowing what went on around the great composers is it possible to truly understand why they are great and why their operas have come down to us (and why dozens of other titles have been left behind).
I suspect Carolina Uccelli was tough.
The rule that governs Dante’s Inferno is called the “contrapasso” – that every sinner is given a punishment in poetic proportion to their crime.
Not too long ago, Benjamin Bernheim gave an interview to Opéra Magazine in which he stated “Je ne suis pas un top model.”
Chris’s Cache follows up its Gounod R&J installment with a widely varied quintet of additional Romeos and Juliets
As an opera fanatic who was baptized by the blood of Leontyne Price, the Messa da Requiem by Giuseppe Verdi appeared on my radar fairly soon after I started delving into the operatic canon.
There were, of course, other Chénier recordings beyond the truly great ones…
Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.
Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.
In 1982 I saw Turandot at the San Francisco Opera, the year after I became an opera fan, and it was my first live opera.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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