On February 10 of this year was the 100th anniversary of the birth of the great Italian basso Cesare Siepi. I found that this milestone was scarcely noted in the opera press.
By Niel Rishoi
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A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore. Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.
By Dawn Fatale
Arts Council England, as a global policy trendsetter, may have sounded the death knell for the international opera industry as we know it.
One wonders whether an obsession with metrics and measurement has the potential to create arts organizations that are more preoccupied with finding systems that quickly and efficiently tick the Arts Council’s boxes than with creating meaningful, impactful art.
“Opera needs a reset. We think there needs to be a fundamental shift in the ecology.”
Edita Gruberova considered her greatest pride and loves not her career but her daughters Klaudia and Barbara and grandchildren Cris, Denis, and Alyssa.
By Niel Rishoi
Despite the diminishing returns of her vocal means, Edita Gruberova‘s last years of her career were if anything more successful than ever.
By Niel Rishoi
These are my findings and opinions (and I welcome rebuttals)!
By Niel Rishoi
The worst criticism perhaps was the gleeful Schadenfreude noting Edita’s voice wasn’t as under her command as it used to be.
By Niel Rishoi
I feel that any singer attempting crossover would do well to listen to Perry Como to hear how it should be done.
By Niel Rishoi
To give an idea of how well Perry Como was able to “assume” different vocal identities, here he is doing his mega #1 1953 hit, “Don’t Let The Stars Get In Your Eyes.”
By Niel Rishoi
In observation of the 110th birthday of Perry Como, May 18, 1912.
By Niel Rishoi
Has there ever been a more perfect opera to watch after a breakup than Ariadne auf Naxos?
In any case, we are now in the Queen’s garden of the Palace in Madrid. It is the day before the coronation of King Philip. Coronation? What coronation?
By Andrew Knapp
The only correct version of Don Carlos must be in French. That is the language that Verdi composed it in and he made all his revisions in that language.
By Andrew Knapp
In online discussion on “Favorite Opera” and cuts in opera in general, it seems Don Carlos (in its original French title) or Don Carlo (as it is better known in Italian) – with or without the “s” – generally get the most votes both as favorite and as an opera from which deplorable cuts are made.
By Andrew Knapp
Watching Gloria Grahame—lips moist and parted, eyes staring off into some faraway middle distance—is absolutely arresting. She looks like the quintessential Noir femme fatale that was, in fact, probably her principal calling card.
One by one, we see the principals arriving at the eerily empty building. Something about watching them—masked and in street clothes, struggling with umbrellas—was almost unbearably emotional for me.
Without attempting to rival The New York Times’ enormous celebratory package, your doyenne lauds the golden anniversary of the Broadway opening night of the seminal musical Follies with a selection of parterre box and parterre box-adjacent pieces devoted to this gorgeous monster of a show.
By La Cieca
Sweet Bird of Youth closes out an undeniably successful decade for Tennessee Williams, on stage and screen, and bisects his body of work, with his mature hits on one side and his experimental, often lambasted later plays on the other.
The flawless, classical singing style of Perry Como. Perry Como?
By Niel Rishoi
I can safely say that this is the gay drama I’ve been waiting for: a genuinely devastating drama that doesn’t treat its characters like lambs waiting for the slaughter or overdose on weepiness, and a queer narrative that unapologetically centers the queer perspective.
If The Night of the Iguana is not exactly a day at the beach, it’s not really the dark night of the soul it should be, either.
As I don’t need to remind you, we are fast approaching the one-year anniversary of COVID quarantine—and for the arts, it remains a scenario of giveth and taketh away.
By David Fox
