I wondered if there truly is a future for opera other than as an overpriced museum piece for an aging audience who likes their sets lavish, their productions non-challenging, and their singers telegenic.
24 comments
Sponsored
Advertise on “the most essential blog in opera”
parterre box, “the most essential blog in opera” (New York Times), is now booking display advertising for fall 2022. Join Carnegie Hall, Lincoln Center, Warner Classics and many others in reaching your target audience through parterre box.
The Albanian soprano Ermonela Jaho is surely the reason that Covent Garden has made a commercial release of this “Live to Cinemas” relay from March of 2017.
By Patrick Mack
The conclusion of our Fanciulla del West video overview in three parts looks at a trio of performances from the 2010s.
By Porgy Amor
Puccini’s Girl closes out the 20th century and gallops into the 21st.
By Porgy Amor
On Thursday, Puccini’s seventh opera, the California Gold Rush romance La fanciulla del West, returns to its birthplace for its first Met performances since 2011.
By Porgy Amor
Well here we are, beloveds, still swathed in the warm glow of the Leonard Bernstein centennial. Box sets abound like bunnies in a hutch.
By Patrick Mack
Der Rosenkavalier (on Blu-ray and DVD) is from the Met HD broadcast which also happened to be the final performance of the run, becoming a true souvenir of the farewells of its two leading ladies.
By Ali Kashani
Even those of us who consider Guillaume Tell Rossini’s greatest opera understand why it has not been his most frequently staged.
By Porgy Amor
Psychology is encoded in the composer’s vocal lines more than his librettist’s words.
By Porgy Amor
C-major has made available the first DVD/Blu-ray of Franco Faccio’s Amleto.
By Porgy Amor
The second DVD/Blu-ray with Plácido Domingo as Verdi’s other beleaguered Doge, Francesco in I due Foscari.
By Porgy Amor
No amount of scholarly diligence has kept Les contes d’Hoffmann from being the messiest of all standard-repertory messes.
By Porgy Amor
In May of last year tenor Piotr Beczala and soprano Anna Netrebko sang in Lohengrin for the first time under the baton of Christian Thielemann in his home house at the Staatskapelle Dresden.
By Patrick Mack
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
By Porgy Amor
“Time is a strange thing,” the lady observes, to a young man who cannot begin to understand what she is talking about.
By Porgy Amor
“In my music, there’s not repetition. Something is always going on.”
By Porgy Amor
The subject of timidity has been in my thoughts in these waning days of February 2017. One would almost think there had been some big announcement recently, preceded by a series of smaller ones, to turn a U.S.-based opera fan’s thoughts in this direction.
By Porgy Amor
This Met’s second production of Berg’s 1935 opera was the hot topic of November 2015.
By Porgy Amor
Today’s Rusalka video overview covers filmed performances of Dvorák’s opera since 2010.
By Porgy Amor
The beautiful singing here is less in the sound than in the way the voice moves.
By Porgy Amor
Now we find Mariella Devia, a diva held in near mythic regard due to her vocal longevity, with competing videos of two of her performances that were released, literally, on the same day.
By Patrick Mack
Andrea Andermann is the veteran film producer who had the notion to assemble top-flight talent from the worlds of music and cinema for a generously funded film of Tosca.
By Porgy Amor
The DVD of Thomas Agerfeldt Olesen‘s 2013 opera The Picture of Dorian Gray.
By Porgy Amor
“Take a good deal of trouble with it, because it is a fine subject, delicate and full of pathos.”
By Porgy Amor
