As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
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A performance of Rossini’s Otello ossia Il Moro di Venezia from the Royal Opera House, Covent Garden, featuring Mariella Devia, Bruce Ford and Juan Diego Florez.
Featuring Juan Diego Flórez, Marina Monzó, Marta Pluda, Manuel Amati, Giorgio Caoduro, Nicolò Donini, Matteo Roma, Sergey Romanovsky, Pietro Spagnoli and Jack Swanson.
Sunday’s sold out Carnegie Hall recital became a veritable love-fest between the Peruvian tenor and those assembled in the Hall.
If opera as a genre in justified in its claim to one particular story, history confirms that the Orpheus myth would be that story.
Of all films to be adapted into operas, 1967’s Berserk! seems a most unlikely choice.
“It was the chilliest opening night at the Met in years on Monday—barely 15 degrees when the curtain went up on the company premiere of La Donna del Lago.“
Ellen Douglas finds herself in Act II of Rossini’s La Donna del Lago in the far from unusual operatic position of having her love claimed by two impassioned tenors in the bel canto version of a macho drag race.
Last night’s complete concert version of Die Csárdásfürstin from Dresden is viewable, after the jump.
Your Own La Cieca has emerged from semi-retirement to present the 2014 Pubie Awards.
The legions of New York opera buffs who now can’t talk about anything but Javier Camarena will be happy to know that there’s now a DVD release
of their new favorite tenor in Rossini’s Le Comte Ory available.
Though at the moment we have no indication that there will be a cast change for the final three performances of La Cenerentola at tha Met, La Cieca does think the group mind should apply itself to the pressing question of exactly wbich tenor will appear in the HD telecast on May 10.
“Javier Camarena will sing the role of Prince Ramiro in the season’s three initial performances of Rossini’s La Cenerentola on April 21, 25, and 28, replacing Juan Diego Flórez, who is ill.”
When Norman Lebrecht is declaring on an almost daily basis that classical music is dead, it’s perhaps heartening that four of today’s prominent tenors have recently released what might be called fluff/vanity albums.
The winners of the ninth annual F. Paul Driscoll Awards for Outstanding Achievement in the Field of Excellence (or, as they are colloquially known, the “Opera News Awards”) have been revealed.
La Cieca thought it would be amusing to do a bit of speculation about what’s to come as we approach the middle of the decade.
In a winter rich with splashy debuts, Friday’s performance of Le Comte Ory introduced a 27-year-old South African charmer who may well be the Met’s next big star.
One quick way to warm up: Watching tenor heartthrob Roberto Alagna.
La Cieca predicts you won’t be seeing any puritans at the Met next season, except of course for the ones who slouch around during intermission hissing, “You call that a trill?”
La Cieca has been sniffing around her generally reliable (and fragrant) sources, and she thinks she has pieced together a list of the dozen operas to be featured in the 2013-2014 season of “The Met: Live in HD.”
“Juan Diego Flórez made an untraditional Nemorino, his small but diamond-bright tenor unlike the luscious lyric voice usually heard in this part.”
L’elisir d’amore, Donizetti’s evergreen comedy about young love, returned to the Met last night with a strong cast, a high energy level from all the performers, and last but not least, a very full house.
Three of the Met’s most cunning vocalists, Juan Diego Flórez, Joyce DiDonato and Diana Damrau, wrap their tongues around the trio from Le Comte Ory.
The updates on Brad Wilber‘s new Met Futures page are arriving almost daily now, with perhaps the most startling recent news the “removal” of Juan Diego Flórez from a projected new production of I puritani in April 2014. But there’s more to it, after the jump.
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