Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
A live broadcast from New York
Hilda Harris and Catherine Malfitano in an 1981 broadcast to celebrate the 100th anniversary of Ravel‘s opera
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
The conclusion of the Metropolitan Opera’s annual competition, live from New York
Fidelio, which opened last week at the Metropolitan Opera, will always be relevant, I fear.
The term “narrative prosthesis” refers to the tendency for works of literature to use disability as the conflict upon which the whole narrative hinges. Herman Melville’s Moby-Dick is a quintessential example of “narrative prosthesis.”
The Metropolitan Opera has revealed its upcoming season.
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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