Neigh sayers: Frightening the Horses
At tonight’s performance of Aida at the Met, the Triumphal Scene horses suddenly panicked and tried to bolt from the stage. I can’t say I blame them.
At tonight’s performance of Aida at the Met, the Triumphal Scene horses suddenly panicked and tried to bolt from the stage. I can’t say I blame them.
In addition to Jessye Norman, this event paid homage to the shamefully obscure soprano Sissieretta Jones—once billed as “The Black Patti.”
There comes a time where everything falls into place, and more importantly, when your head and heart are also in the right mindset. That’s when when the opera becomes cathartic, life-changing experience.
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
“Trove Thursday” keeps the evil deeds going this All Saints’s Day with a vintage La Scala broadcast of Arrigo Boito’s only completed opera Mefistofele.
“Trove Thursday” offers due local Lombardi: one with Renata Scotto and José Carreras, the other with Aprile Millo and Carlo Bergonzi.
How do we celebrate a long career in opera, particularly one as illustrious as Plácido Domingo‘s?
I hardly know where to heap my praise first.
Beautiful singing, thoughtful staging, lovely melodies… a perfect escape from daily life.
For this revisiting of Tosca, San Francisco Opera decided to highlight the glamorous lifestyle of the Italian soprano Carmen Giannattasio.
For opening night of the new LA Opera season Placido Domingo decided to return to one of his best Verdi showcases, Don Carlo, only this time as the baritone, Rodrigo the Marquis di Posa, instead of the title character.
Lightning struck again here when, after a wait of 39 years, San Francisco Opera unveiled a new production of Donizetti’s Roberto Devereux.
San Francisco Opera opened their 2018-19 Season Friday with a double bill of Italian verismo operas, Cavalleria rusticana and Pagliacci, which made a welcome return to War Memorial Opera House after 15 years.
Sunday, August 26, marked the inaugural performance for the newly-created The Claude Heater Foundation with a concert performance of Wagner’s Tristan und Isolde in the Herbst Theatre.
The Lamplighters Music Theatre opened their 66th season in SF last Saturday with triumphant performance of Gilbert and Sullivan’s The Pirates of Penzance.
Last weekend marked the opening night for West Edge Opera: Debussy’s Pelléas et Mélisande.
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.
As Brünnhilde invokes the gods of an empty Valhalla for one last time and strides confidently into a wall of flame, we pause for a moment, unsure of what will follow.
Siegfried is, in a sense, The Ring’s odd one out.
If Das Rheingold is an opera about infinitude, the illusory idea that the world is large enough to satisfy all of our desires, passions, and lusts, Die Walküre is an opera about scarcity.
I mean, how often does one get to hear Bernstein’s gorgeous, rollicking, and varied score nursed by a full orchestra and the artistic resources of an opera company?
I have a confession to make. I have been taking Rigoletto for granted.
The Verdi Chorus celebrated their 35th anniversary with their spring concert weekend entitled The Force of Destiny last Saturday night and Sunday afternoon.
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
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