Past is prologue
Simon Boccanegra has never felt as foreboding or prophetic as it did at a recent performance at La Fenice.
Teatro la Fenice
6 pieces since 2010.
6
pieces
17
years
L’elisir d’amore
Gilda Fiume and Valerio Borgioni lead a live broadcast from Venice
Streamed August 26, 2026 at 1:00 PM
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Carmen
Annalisa Stroppa leads a live performance from the Teatro La Fenice
Streamed May 24, 2026 at 1:00 PM
3 comments
Lohengrin
Brian Jagde and Dorothea Herbert are Lohengrin and Elsa in a live broadcast from Venice
Streamed April 12, 2026 at 12:00 PM
8 comments
La clemenza di Tito
Ivor Bolton conducts Daniel Behle, Anastasia Bartoli, and Cecilia Molinari in a live broadcast from Venice
Streamed November 20, 2025 at 1:00 PM
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Changing habits
A new production of Dialogues des Carmélites featuring Anna Caterina Antonacci proves that it’s hard to be an iconoclast in Venice.
Dialogues des Carmélites
A live broadcast from Venice featuring Anna Caterina Antonacci as Madame de Croissy
Maria Egiziaca
The forces of the Teatro La Fenice in a performance of Respighi‘s opera recorded last spring at Venice’s Teatro Malibran
It’s Brittany, bitch
Sparks flew when the San Francisco Opera opened their new production of Richard Wagner’s monumental Tristan und Isolde on Saturday, October 19th, at the War Memorial Opera House.
Bell de jour
Next week the Italian soprano Mariella Devia celebrates her 70th birthday so “Trove Thursday” salutes her with one of her earliest New York successes: Delibes’s Lakmé
Let me live by my wits and Trost to my luck
I finally get to complete my personal operatic Top Ten this week with Igor Stravinsky’s only full-length opera, The Rake’s Progress.
Bottom dollar
In Robert Carsen’s 2004 production of La traviata for Teatro La Fenice, the Prelude is staged. During this haunting music, we see Violetta lounging on a huge bed while more than a dozen men pay her for her services with wads of oversized dollar bills. By the time Act One begins, the bed is virtually covered […]
Cross purposes
The subtitle for Il crociato in Egitto, the last of Meyerbeer’s great Italian operas, is “Historic Melodrama in Two Acts,” and boy is it! A melodrama, I mean. I’m not sure about the historic part.