Though the formal recorded aria recital is the ultimate calling card of an artist, the invitation to the spectator to receive, listen, and critically behold of the offerings (on fire or burnt), they are but a souvenir and there are a few drawbacks inherent with the presentation.
By Niel Rishoi
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Ombra Compagna, out today on Pentatone, spotlights Lisette Oropesa in 10 of Mozart’s most challenging concert arias accompanied by Il Pomo d’Oro conducted by Antonello Manacorda.
Countertenor sensation Jakub Jozef Orlinski sings “Pena tiranna” from Handel’s Amadigi di Gaula.
By La Cieca
Rossini’s Semiramide is a highly original and imaginative work of theater that impresses for its creative and beautifully scored orchestration, incisive recitatives and ensembles, and theatrically intriguing characters.
Following classic recordings documenting the work of Karl Böhm and Herbert von Karajan. Orfeo’s 150 Years Wiener Staatsoper box moves on to new releases that are seeing their first incarnation on an officially available disc.
Orfeo’s 150 Years box chronologically documents some of the finest nights of live opera from the Wiener Staatsoper in the years following its restoration in 1955.
“Die Zauberflöte is an opera!” “No, it’s the first musical comedy!”
By David Fox
Brigitte Fassbaender‘s sound is piquant and, I’d hazard to guess, instantly recognizable to anyone familiar with her work.
By David Fox
Michael Fabiano is a boss. This is a fact.
By Patrick Mack
Lise Davidsen, the young Norwegian soprano who won the Operalia competition in 2015, makes her debut as a recording artist with the Decca label in a new recital of Wagner and Strauss arias and orchestral songs.
Here’s a quick sprint through some recent (and a few maybe not-so-very-recent) Handel CDs that have been stacking up.
This Sony Classical set of live performances covers a golden quarter century in the singing and staging of Wagner. Birgit Nilsson shared it with many other legends, and many of them appear on these discs.
By John Yohalem
The career of our beloved Renée Fleming deserves to continue… by whatever means necessary.
By Patrick Mack
Orfeo’s latest edition is a 1978 performance of Lucia di Lammermoor with a very estimable cast that on its surface may seem a tad mundane but the extensive liner notes (with performance photos) tell the story of why it held such magic.
By Patrick Mack
The arrival of a new recording of Giuseppe Verdi’s Otello into the catalogue, to say nothing of a new tenor capable of singing Otello, is generally cause for hosannas all around in operatic circles.
By Patrick Mack
Recorded on 7 May 2017, 50 Years at Lincoln Center: A Gala Celebration features three dozen Met singers of the present decade, from A(ngela) to Z(eljko).
By Porgy Amor
The Eloquence label of Australia, the down under-arm of Decca and now by extension Deutsche Grammophon, seems to specialize in the re-release of “Auld Lang Syne” treats.
By Patrick Mack
For her first CD in six years, Angela Gheorghiu has chosen Italian repertoire.
All the daring and imagination of La Divina’s live work, particularly in the early years, is revealed in Warner Classics’ Maria Callas: The Live Recordings.
Diana Damrau has chosen for her new Erato recital disc Grand Opera 11 high-flying showpieces from ten operas by Giacomo Meyerbeer.
By John Yohalem
Let’s call this meeting to order. My name is Patrick and I’m a boxset-aholic.
By Patrick Mack
Revive is a manifesto of sorts, declaring Elina Garanca’s intentions for the new direction in her career.
By Ali Kashani
Joyce DiDonato’s atest album, In War & Peace: Harmony through music, is more specific than it sounds.
By Ali Kashani
Sony Classical has now released “Leontyne Price Prima Donna Assoluta” containing nearly her entire operatic oeuvre in a box set.
By Patrick Mack
