This sterling revival shows the Metropolitan to be surviving well and in good shape.
When was the last time the Metropolitan Opera mounted a new production that was musically outstanding yet the direction and/or design mostly sucked?
Jordi Savall and William Christie, 80 and 77 respectively, stand as the two senior masters whose recordings and appearances have done the most over the past decades to build a healthy local enthusiasm for pre-Classical music.
In any case, we are now in the Queen’s garden of the Palace in Madrid. It is the day before the coronation of King Philip. Coronation? What coronation?
The only correct version of Don Carlos must be in French. That is the language that Verdi composed it in and he made all his revisions in that language.
In online discussion on “Favorite Opera” and cuts in opera in general, it seems Don Carlos (in its original French title) or Don Carlo (as it is better known in Italian) – with or without the “s” – generally get the most votes both as favorite and as an opera from which deplorable cuts are made.
Trove Thursday offers Shostakovich’s 1962 Katerina Izmailova with Australian soprano Marie Collier as its anti-heroine and Jon Vickers as her lover.
Minutes into “An die Nacht,” the first song Friday night, I realized how much I’d missed being enveloped in that seductive Straussian combination of a soprano (or two or three) rising higher and higher over a surging orchestra.
Young voices ringing out Stravinsky’s witty melodies at close quarters gives great pleasure if you are fond of this witty score and its many parodies of early operatic cliché.
Next Wednesday is the composer’s 337th birthday, so Trove Thursday previews this spring’s most enticing Handel performance with two very different live versions of his delightful Serse,.
On this day in 1959 soprano Leonie Rysanek made her Metropolitan Opera debut as Lady Macbeth.
Don Carlos is my favorite Verdi opera, and I’m always in favor of including the most music. But it can be a dizzying task to keep track of all the options.
Today is Mozart’s 266th birthday and I had already planned a Trove Thursday celebration when I learned that Maria Ewing had died on January 9.
In the last weeks of January, as the Metropolitan Opera season wound to a close (prior to the winter hiatus) two striking sopranos were thrust into the limelight.
Teresa Zylis-Gara died in late August at 91 and Trove Thursday offers the Polish soprano in a wide-ranging collection of live material showcasing her great versatility.
Trove Thursday offers a nearly forgotten 19th century opera with a most marvelous name: Le Roi d’Ys by Éduoard Lalo featuring a superb French cast led by Alain Vanzo, Andrea Guiot, Jane Rhodes and Robert Massard.
Despite having lost its announced Cherubino, conductor and Count (the latter in the midst of rehearsals), the season premiere of Le Nozze di Figaro Saturday afternoon proved to be one of the most enjoyable Met Mozart performances I’ve attended in ages.
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
A nonstop flow of COVID related announcements from New York City performing arts organizations has swept the city the past weeks.
Un ballo in maschera—but instead of a tragedy, an opera buffa—and in Danish?
Part vaudeville, part opera concert and part drag ball, Heartbeat Opera’s pageant was like a cup of eggnog spiked with a dash of LSD.
The Met’s Cinderella is a charming adaptation of Massenet’s opera. Frothy, fun, and enchanting, it is a magical holiday treat for the whole family to enjoy.
A good time seemed to be had by all though I don’t recall seeing a single child in attendance.
Since my previous CD round-up review the onslaught of solo recital disks of 18th century (and sometimes also 17th) vocal music has continued unabated.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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