Javier Camarena offered a performance carefully calibrated to a more intimate venue that nonetheless offered emotionally potent results.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Saturday’s Washington National Opera premiere of a new version of Philip Glass and Christopher Hampton’s Appomattox had everything going for it but the opera.
Readers of this site are typically up to speed on emerging vocal talents, so clearly there is no need for me to write a review of Chilean-German soprano Carolina Ullrich’s riveting recital at the Paris Opera?
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
Joyce DiDonato enjoys the rare cachet of having three studio-recorded operas released in the past three years while other famous divas must be content with “just” DVDs. Although two of Renée Fleming’s Violettas have found their way onto video in less than five years (why??), “the people’s diva” has only recorded one studio opera in…
Michael Kaiser, president of the Kennedy Center, celebrated mastermind of the financial turnarounds of the Royal Opera, American Ballet Theatre the Alvin Ailey Dance Theater, has some interesting advice for arts organizations in our current troubled times. His ideas take on a strong resonance, La Cieca thinks, when applied to our big New York opera…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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