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.
Cio-Cio and Carmen: what do you do with two tragic heroines who typify not just the sexist clichés, but also the soupy exotic fixations, of the Old-World West?
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.
There was a moment during Natalie Dessay’s performance of Schubert’s “Gretchen am Spinnrade” when the singer summoned the ghost of her former self.
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.
Since no doubt the New York contingent of the cher public are already shuddering in anticipation of a Kristine Opolais Tosca as a “gala” New Year’s Eve treat, La Cieca thought you might enjoy—again, surely too strong a word—a preview of sorts.
The wild tempest that whipped and drenched the audience as it exited the Met after Tuesday’s season premiere of Wagner’s Der Fliegende Holländer mirrored the finer features of the evening.
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
Lakmé, stars Ruth Welting, Alfredo Kraus, and Paul Plishka, conducted by Nicola Rescigno.
Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better?
Any production of Der Rosenkavalier that can transform the usually excruciating first half of the third act into a hilarious romp already has my vote.
We leave behind the Vienna of the 1740s, the time of breeches, fans and white wigs.
A brilliant production of La Juive like that of Peter Konwitschny generalizes the message that mindless hate does not pay and the mindless mob is always the enemy of civilization.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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