So, take a look after the jump and tell La Cieca the two things that are wrong (they’re related) about the cover of the Met’s new Ring DVD/Blu-ray.
Unlike Mozart, the young Gioacchino Rossini seldom let his ambitions strain relations with employers.
The Met’s controversial Ring cycle, directed by Robert Lepage (not pictured) and conducted by TBA (possibly pictured) makes its home video debut on September 11.
Verdi’s only successful comic opera, Falstaff, is notably hard to produce.
Puccini’s evening of one-act operas Il Trittico seems to be riding a wave of popularity over the last few years, with a new production at the Met and several high-profile productions in America and Europe.
The chicken or the egg?
The diva must be a Diva in Adriana Lecouvreur. Fact.
The most wonderful thing about opera on video is the vicarious thrill of seeing performances of important works in the most glamorous foreign theaters in gala presentations with musicians of great renown for a piddling fraction of the cost.
This Hans Neuenfels staging for the Bayreuth Festival caused quite a stir at its 2010 premiere, but now, with time and distance, how radical is the production?
Manuel de Falla’s La Vida Breve makes its video debut with this release from C-Major which means there’s still plenty of opportunities for improvement.
Richard Wagner believed the key to any legend was contrasting the supernatural with human nature, and showing how the combination had no chance of enduring. In Lohengrin, the title’s character’s insistence on unconditional love and trust collide with the conditional expectations of the real world. The challenge is capturing the tale’s somber majesty without losing…
The cover picture on the Opera Australia’s DVD
of a 2011 production of Mozart’s Don Giovanni is rather startling.
Sometime in 1753, Frederick The Great of Prussia, following a tiff with his great friend Voltaire, began writing an opera libretto in French prose that was to elucidate his ideas about the role of an enlightened monarch.
As we lurch into the month of July, La Cieca (not pictured, one hopes) wants quietly but firmly to draw the attention of her cher public to some of the more interesting releases on audio and video newly available on Amazon.com.
As a child I had but a few criteria that were necessary to ensure a happy entertainment. These included mostly ball-gowns, fairy godmothers and Julie Andrews, though Sally Ann Howes was acceptable in a pinch.
This year, I attended one of Natalie Dessay‘s only fully-sung Traviatas at the Met.
Richard Strauss’s “last romantic opera,” as he called Die Frau Ohne Schatten, is and has always been a problem child.
The operas of Leos Janácek have been slowly gaining ground in the world’s theatres over the past fifty years.
L’incoronazione di Poppea nearly disappeared from the stage completely after its 1642 Venice premiere and a Naples revival in 1651.
Die Entführung aus dem Serail has been a bit of an unruly child recently, with productions by Neuenfels and Bieito dividing audiences and inspiring critics like Heather MacDonald to lengthy manifestos.
Jules Massenet’s Don Quichotte was one of a number of commissions from the Monte Carlo Opera that occupied the composer at the end of his life.
Francesco Cavalli’s 1649 opera Il Giasone (Jason) was virtually a model of the many conventions that had come to be expected in Venetian public opera in the seventeenth century.
You may remember, gentle readers, that last year about this time Peter Gelb decided to enter into an unholy alliance with Target to benefit their mountainous number of opera loving customers by pre-releasing two Met performances exclusively in their fine emporiums.
Certain opera productions become the stuff of legend as much for the circumstances surrounding the performance as for the musical results.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
