When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
The beautiful singing here is less in the sound than in the way the voice moves.
Now we find Mariella Devia, a diva held in near mythic regard due to her vocal longevity, with competing videos of two of her performances that were released, literally, on the same day.
Which operatic character could be best described as a spider?
Beginning with the dark, ominous music of the prelude of Charles Wuorinen and Annie Proulx’s opera Brokeback Mountain, we know we are in for a very different and far less sentimental version of the work than was had with Ang Lee’s iconic 2005 film.
James Conlon, Music Director for the LA Opera, often does the pre-game lecture in the huge open space on the second floor lobby of the Dorothy Chandler Pavillion and it’s almost always a standing room only crowd.
Impresario Gerard Mortier died earlier today of pancreatic cancer. He was 70.
Philip Glass’s 25th opera The Perfect American was originally commissioned for New York City Opera during the aborted regime of Gerard Mortier.
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.
This 2010 DVD
of Brecht and Weill’s Rise and Fall of the City of Mahagonny from Madrid assumes pride of place among the available video versions of the opera.
Juan Diego Flórez is without question a superstar of bel canto repertory, but the recent release of the recording of his role debut as Orphée in Gluck’s Orphée et Eurydice at the Teatro Real in Madrid raises some interesting questions. Among these questions, first and foremost is the nature of Orpheus, and whether Flórez has…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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