Search results for: Leyla Gencer
Next month in Bergamo Plácido Domingo takes on his zillionth—and possibly final—new role, so Trove Thursday previews it by returning to the same venue 50 years earlier for Donizetti’s Belisario with Leyla Gencer and Renato Bruson, a real baritone as its titular hero.
Chris’s Cache previews Donizetti’s Poliuto, with a broadcast starring Sondra Radvanovsky, Gregory Kunde and Gabriele Viviani, along with Les Martyrs, the opera’s French grand opera revision, with Leyla Gencer, Mario di Felici and Renato Bruson.
Born on this day composer Giuseppe Verdi (1813) and soprano Leyla Gencer (1924).
Born on this day composer Giuseppe Verdi (1813) and soprano Leyla Gencer (1924).
Born on this day in 1813 composer Giuseppe Verdi. Born on this day in 1924 soprano Leyla Gencer.
parterre saturday afternoon presents Leyla Gencer in an opera she really should have done far more often, Verdi’s Macbeth.
Leyla Gencer and Shirley Verrett star in Maria Stuarda, this week’s offering in the returning series “saturday afternoon parterre” hosted by Our Own JJ.
Born on this day in 1924 soprano Leyla Gencer, represented after the jump singing music by Giuseppe Verdi, born on this day in 1813.
In attempting to get a little bit of everything onto my Mixcloud page, I realized that I inadvertently neglected some essentials: 1) Leyla Gencer 2) La Gioconda.
In a splashy new recording of Norma, Marina Rebeka “is doing something very untoward, and it appears destructive to her voice.” It has Niel Rishoi worried.
To the extent that singers should be considered stewards of their repertoire, equating bad singing to whatever “verismo” is will only be to the detriment of verismo.
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
A trio of live Bellini recordings featuring Mirella Freni, June Anderson, and Angela Meade in the title role
Zachary Woolfe reflects on the legacy of parterre box founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
To get right to the point, the performance did not come together despite some good elements and was a major missed opportunity.
Several opera companies across the globe are marking the 100th anniversary of the birth of Maria Callas with performances of operas identified with her.
Despite the diminishing returns of her vocal means, Edita Gruberova‘s last years of her career were if anything more successful than ever.
In an era when the Metropolitan Opera cannot cast an Aida, Trovatore or Forza consistently, New Amsterdam Opera managed to cast large, attractive and fully technically capable voices in all the cruelly demanding principal roles in I Vespri Siciliani!