Before her one-woman La voix humaine with the New York Philharmonic, Barbara Hannigan talks to Kevin Ng about her career, her artistry, and whether or not there’s a voice on the other line.
Anna Pirozzi and Luca Salsi reunite in blazing form in Tosca at the Teatro San Carlo
Joseph Caldwell produced this charming tale from a year spent in Italy on the Rome Prize from the American Academy of Arts and Letters.
Revivals of Falstaff in Milan and Don Carlo in Naples have Larry Wolff thinking across the six decades of Verdi‘s career
I suspect Carolina Uccelli was tough.
Washington Concert Opera’s season opened with a triumphant performance of Gioachino Rossini’s rarely heard Ermione Saturday night at George Washington University in D.C., led by Antony Walker and a stellar quartet of principals in Angela Meade, Lawrence Brownlee, David Portillo, and Ginger Costa-Jackson.
It was thrilling to see and hear Will Crutchfield’s insights come to life onstage in performance when Teatro Nuovo performed Poliuto at the Rose Theater at Jazz at Lincoln Center Wednesday July 19.
From Christian martyrs to naughty fairies, Teatro Nuovo will explore the tragic and comic sides of 19th century Italian Opera.
Zelmira, a work of 1822, was the last of the eight operas Rossini composed for the Teatro San Carlo in Naples, then the largest opera house in Italy—perhaps in Europe.
The conclusion of our Fanciulla del West video overview in three parts looks at a trio of performances from the 2010s.
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
This year’s Salzburg Festival opens Saturday with a new production of Mozart’s Die Zauberflöte, an opera often performed elsewhere in translation, so “Trove Thursday” offers two for the price (!) of one.
I was hopeful that my next operatic engagement would offer greater rewards: Norma at the Edinburgh Festival.
Giuseppe Verdi was so unhappy with the first production of his Giovanna d’Arco at La Scala in 1845 that he swore an oath to himself that he would never entrust that theatre with a prima again.
By the time Roberto Devereux saw its premiere at Napoli’s Teatro San Carlo on 29 October, 1837, Gaetano Donizetti had lost, in an 18-month time frame, both his parents, two still-born children, and his beloved wife Virginia.
My impossible wish would be to hear one of the great castrati who dominated opera for most of the 18th century.
Name a Verdi opera, based on a play by Voltaire, described in the immortal words of the composer as “Questo e proprio brutto.”
The realization of the opera Un ballo in maschera by Verdi and the librettist Antonio Somma is almost as famous as the opera itself.
Giovanni Simone Mayr was one of the most important musical figures of his day, a man Rossini referred to as the “father of Italian opera” whom Napoleon personally lobbied to come work in Paris. Though he wrote nearly 70 operas and taught Donizetti and Bellini, the Bavarian-born composer had the misfortune of hitting his peak…
Our Own Gualtier Maldè (right) escaped today’s Armida dress rehearsal at the Met with his wits intact. He reports:
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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