Endlessly extricating her from existing contracts then negotiating new ones must make being Sonya Yoncheva’s manager the hardest job in the music business.
A week from Saturday Will Crutchfield’s “Bel Canto at Caramoor” ends a 20-year run with Il Pirata.
Now it’s time to grab Albert Einstein for a lengthy swim.
In March 1973, OONY’s second season featured Francesca da Rimini starring Raina Kabaivanska, Plácido Domingo and Matteo Manuguerra.
A live broadcast of the prologue to Ariadne auf Naxos featuring Julia Varady, a favorite sopranos in a role she sang only rarely.
From up close, the miked opera singer can be a bit tough to take.
I finally get to complete my personal operatic Top Ten this week with Igor Stravinsky’s only full-length opera, The Rake’s Progress.
Angels in America reimagined as an actual, full-blown opera.
The glorious and beloved Elisabeth Söderström tackles the fiendishly difficult role of Christine in a 1974 performance from Glyndebourne.
It is always a pleasure to hear a great orchestra take on a major score that might sound half-muffled emerging from the pit of an opera house.
An outstanding performance of Weber’s Euryanthe to share on “Trove Thursday.”
Diana Damrau has chosen for her new Erato recital disc Grand Opera 11 high-flying showpieces from ten operas by Giacomo Meyerbeer.
A live Un Ballo in Maschera featuring Jon Vickers, Amy Shuard, Lucia Popp, Shirley Verrett and Peter Glossop.
Due to a small hiccup in scheduling at Casa della Cieca, this week you get two uploads!
Zolotoy pyetushok (translated as The Golden Cockerel in English, is best known in these parts as Le Coq d’Or.
If everything you see is great, you are either new to opera or chronically easy to please.
“Trove Thursday” pays tribute to the great German bass Kurt Moll
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
“Did you ever have the feeling that you wanted to go, and then you had the feeling that you wanted to stay?” This soul-searching question is likely running through the mind of Renée Fleming.
Going into Washington National Opera’s final presentation of the season, Madama Butterfly, I feared that I might be geisha’d out.
I don’t usually attend a performance of an opera I’ve known well most of my life expecting a revelation.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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