It’s a fairly traditional post-Patrice-Chereau Ring, set during the Industrial Revolution.
It is not easy for an opera company to follow a spectacular production of La Traviata with Massenet’s Manon.
Whatever its flaws, La finta giardinera is indeed a wise rep choice for grad students eager to cut their teeth.
C-major has made available the first DVD/Blu-ray of Franco Faccio’s Amleto.
Could Barbara Hannigan be Joni Mitchell’s classical counterpart?
A dozen women or more talk and sing about all sort of important and exciting things, with “a man” near the bottom of their list of priorities.
A wonderfully committed Ailyn Pérez and Gerald Finley at Saturday afternoon’s revival abetted by Emmanuel Villaume’s passionate conducting converted me to a Thaïs believer.
In the seventies and eighties Dominick Argento (who turned ninety this year) was one of the most oft-performed of American opera composers.
I’ve always believed that Follies, like life, should be relentless and inescapable.
What if you could time travel back to the first run of Giuseppe Verdi’s first great success Nabucco?
Flotow’s Martha, a work of 1847 that was popular around the world for a hundred years.
The second DVD/Blu-ray with Plácido Domingo as Verdi’s other beleaguered Doge, Francesco in I due Foscari.
Washington National Opera’s lukewarm Alcina, unthreateningly misguided in both its musical and theatrical values, made little impact.
Madama Butterfly remains fascinating because of its complexity.
The second installment of Lyric’s Ring Cycle proved an evening of glorious singing, moving drama, great conducting and orchestral playing.
Flashes of excitement and genuine pathos lit up City Opera’s production of Dolores Claiborne!
At yesterday’s recital at the Morgan Library, Leah Crocetto sang as her encore Kern and Hammerstein’s “Can’t Help Lovin’ Dat Man.”
Just because one can write an opera based on a film, does this necessarily indicate that one should?
In September, Finnish National Opera gave the world premiere of Höstsonaten (Autumn Sonata), based on Mr. Bergman’s 1978 study of a troubled mother/daughter relationship.
I fucking love Renée Fleming.
I was extraordinarily happy Monday evening to encounter Angel Blue and Russell Thomas as Mimi and Rodolfo.
“It’s not easy being green”: especially if you’re the two greatest Italian opera composers.
Riccardo Zandoni’s Il Grillo del Focolare is an opera after all.
For her first CD in six years, Angela Gheorghiu has chosen Italian repertoire.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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