On Thursday night, July 29th, I attended the Colorado Music Festival’s concert entitled “Epic Opera”. The program as advertised on the CMF website was to feature the Prelude and Liebestod from Tristan und Isolde with soprano Jane Eaglen, followed by Lorin Maazel‘s suite “The Ring Without Words”. Unbeknownst to me, or presumably anyone else until…
Asking New Yorkers to travel two hours to the remote but beautiful campus of Bard College in New York’s Hudson River Valley to see an opera can be like asking them to cross the Sahara. Yet if there is any opera I would put my life at risk to see again, it just might be…
So, if you wondering when the spit is going to hit the fan (to quote another great ’50s teen angst opus), well, the date you’re looking for is October 9, 2010. Why is that date so special or unusual, you ask? Well, for the currently ailing James Levine, it’s the day he’s supposed to be in…
La Cieca is delighted to throw out the first ball or lift her baton or whatever it is one does to launch a discussion, which in this case is on the topic of that most quintessential of all opera novels, Mawrdew Czgowchwz—though she does insist on prefacing anything she says with the caveat that she’s…
La Cieca has just heard that the legendary basso cantante, star of well over 400 performances at the Met, died earlier today in Atlanta.
The good news is that the Met reduced its operating deficit for 2008-2009 to $1.3 million, down from $12.2 million a year earlier. The bad news is the company’s assets fell by $72.6 million (down to $422.7 million) primarily because of investment losses. In other news, the Met paid James Levine a bit more than…
Idomeneo is one of those operas I always meant to get around to, but never did. Composed in 1780, it’s considered Mozart’s first “mature” opera. If you collect live recordings of significant debuts, this 1964 Glyndebourne Festival live recording might be of interest. So far as I can tell, this may be the first full…
Take a Wild Ride with a Valkyrie!! Yes, that’s what all the signs say around Old Baghdad-by-the-Bay…. So, fasten your seatbelts, y’all, it’s going to be a bumpy night! As it turned out, Die Walküre was an unexpectedly wonderful ride, marking the debut of someone who could be a very important new Brünnhilde, Nina Stemme.…
A long-awaited DVD from the Met documents one of the great “42nd Street” episodes in operatic history: on December 20, 1980, a largely unknown Julia Migenes (or Migenes-Johnson, as she was called in those days) stepped in on a few hours’ notice for an ailing Teresa Stratas as the anti-heroine of Berg’s Lulu. A prodigiously…
The great Italian baritone died earlier today. He was 93. Taddei enjoyed a career spanning over half a century, making his Met debut at the age of 69 in 1985. [via ApCom]
Look, this is a very special piece of music for me. You were twenty once, right? You were self-righteous. You had your musical heroes, and your mind was being remolded every fifteen minutes or so by a rapid succession of new experiences that challenged your notions of what music could do.
There is no cry heard more often these days than, “Where are all the Verdi sopranos?!?” Yes, there was a day when we had the likes of Aprile Millo, Eva Marton, Leontyne Price, Renata Tebaldi, Maria Callas, Leonie Rysanek, Zinka Milanov and Antonietta Stella all singing in the same, say 25 or 30 years. While…
When attending a production by one of the myriad small, independent opera Companies in New York, it’s always a bit of a crapshoot. When I go to one of these things, I try and play by an old Irish saying: “If you’re expecting a kick in the balls, a slap in the face is a…
When invited to participate in a discourse on artistic standards (hello, internet!), it’s easy — pleasurable, even — for an aesthete to bray about “the fall.” Where are the true heldentenors? Your kingdom for a Callas! (Or a Stratas, or a Rysanek!) And might the public, at long last, deserve a stable of directors who…
Reviewing a CD of someone you have never heard live is always a dicey proposition. As we all know, a voice sounds very different in a big hall than it does up-close and personal. So if Marc Hervieux is your favorite new tenor, please don’t put me in the “crosshairs” just yet. I freely admit…
We’ve all had a rough time in the last few years; but cultural institutions have had it worse than they could have possibly imagined. With a business model that relies entirely on private donations to achieve fiscal viability, the challenge to make ends meet has never been greater.
Is anyone else as amazed as I am by the following remark in the New Yorker‘s capsule item on Armida: “…an exquisite ballet fetchingly choreographed by Graciela Daniele“?
As we approach the end of the first all-Peter Gelb season at the Met, there’s already a certain amount of editorial judgment on the General Manager’s “aesthetic agenda.” That’s only fair, of course: judgement is what critics do.
The setting is Salzburg, September of 2009. Anna Netrebko and Daniel Barenboim partnered for a recital with lofty aspirations and difficult works mere months after her unfortunate Lucia at the Met. Thanks to the foresight to record this evening, we now have a record of a great night – hopefully a turning point – in…
Luc Bondy’s Tosca returned to the Met on Wednesday night with an entirely new set of principals and conductor. The new trio of principal singers, all making local role debuts, could not redirect and redesign the production but they could allow their individual talents to outshine their surroundings.
1817 was a fertile and diverse time for 26 year old Gioachino Rossini. It opened with his last true opera buffa, La Cenerentola, continued with his most important semiseria, La gazza ladra, and ended with two operas, which, although both nominally belonging to the seria genre, could not be more different from each other.
Our Own Gualtier Maldè (right) escaped today’s Armida dress rehearsal at the Met with his wits intact. He reports:
La Cieca presents an open letter from a parterre box reader.
“Volpe, who is 69, wants to set the record straight, now that Peter Gelb is being held up as the architect of a new, dynamic Met: with enough money, he too could have been creative. ‘Peter spends money in ways I never could,’ Volpe told me. ‘If I had Mercedes Bass and I could have…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.