There are two kinds of opera lovers: Those who despise or tolerate La Gioconda as a preposterous rip-off of Aida that lingered a century in the repertory in spite of its galumphing story, largely because of the popularity of its tuneful ballet—and true opera lovers. We love every silly note of the thing, and every…
Sunday afternoon at Carnegie Hall two remarkable slices of soprano-heaven were served up, first by Carolyn Sampson and then by Erin Morley, during the second act of Handel’s Orlando.
An astute double-feature exposes all the complexities of female suffering embedded within two canonical works.
Without fail, all nine finalists had nice clear ringing voices. Whether they develop into great artists is another question.
After two previous productions of Tosca in New York City this season (the Met’s revival of the controversial Luc Bondy version and NYCO Renaissance’s depressingly retrograde take), New Yorkers finally got a pleasing, if rough-edged, performance of the Puccini classic from LoftOpera.
As portrayed by Vittorio Grigolo, Nemorino was a manic self-absorbed, probably bipolar, stalker who—against all odds and good sense—gets the poor girl.
If I were Renée Fleming, I, too, would indulge myself.
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
These days a cadre of voluble opera-goers regularly issues dire warnings that anyone about to attend this or that production at the Met should close her eyes and just listen rather than witness yet another Peter Gelb regie “atrocity.”
Anna Netrebko and Latonia Moore (pictured) rekindle “The Grand Opera Buzz.”
“Friday night’s triumph may well leave the Met’s management wondering how it let such a gem slip through its fingers.”
Ana Maria Martinez’s tremendously impressive Cio-Cio-San dominated the season premiere of Puccini’s Madama Butterfly at the Met.
“Mr. Eyre’s production… was just another in a series of ugly, gargantuan stagings signaling the Met’s endemic lack of imagination or artistic ambition.”
This was a Rosenkavalier that aspired to excellence and almost achieved it.
The revival of Mozart’s The Magic Flute at the Music Center downtown, last seen at LA Opera in 2013, is reason for jubilation for everyone except perhaps the singers engaged.
Kurt Weill and Maxwell Anderson’s 1949 musicalization of Alan Paton’s Cry, the Beloved Country has found a tentative home on the opera stage.
Sir Richard Eyre’s new Manon Lescaut at the Met Friday night demonstrated no particular aptitude for opera.
Ms. Guy goes into detail about what made Sills a “magic” performer, recounting reactions of people across an extraordinarily broad socio-economic spectrum who discovered their love of opera and singing through her.
The concert presented by Opera Lafayette at the Alliance Française last Friday and Saturday was devoted to music of witty, short-lived Emmanuel Chabrier, notably Une Éducation Manquée.
Bellini blossomed over us like a love fest.
Jarrett Ott is a star. That is the only surprise takeaway from the well-intended snore, Cold Mountain.
First seen in 2005, Siegfried makes a welcome return as a stand-alone production this season.
Washingtonians enjoyed a happy reunion this past Sunday with David Daniels.
Friday’s season premiere at the Met of Donizetti’s opera about the doomed Scottish queen proved surprisingly satisfying and a genuine success for Sondra Radvanovsky.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.