The performance at the Metropolitan Opera last night proved that yes, it is possible to kill this opera. I don’t know how they managed it, but they did.
This DVD of Ernani is part of a series from the Teatro di Parma, a “Tutto Verdi” collection recently produced by Unitel Classica.
My mother asked me once, whilst staring aghast at my CD collection, why I needed so many copies of Don Giovanni.
Can it be nearly a quarter-century ago that an Italian mezzo-soprano in her early twenties recorded her first recital?
“Like the Shakespeare play it’s based on, Thomas Adès’ opera The Tempest is set on an enchanted island.”
At the age of thirty, Donizetti was already the experienced composer of about eighteen operas, both serious and farcical, but as Olivo e Pasquale (currently undergoing its American premiere run at Amore Opera) makes clear, the comic works were no slight matter.
Since 2010 I’ve been reading nothing but horror being heaped upon the Met’s new Ring. It’s been like a cross between a cruise ship size buffet spread of internet snarking and a slasher film re-cast with music critics.
It took about 30 minutes for me to grow restless watching the world premiere video of Gyorgi Ligeti’s Le Grand Macabre from Gran Teatre del Liceu.
So meandering and ragged a reading would be alarming at a first rehearsal; for a first night, it was a scandal.
Handel’s 1711 opera Rinaldo was the first Italian opera ever written specifically for the London stage.
Saturday matinee’s prima Trovatore brought an exciting and compelling show to the Met’s stage in the revival of David McVicar’s dark, Goya-esque production.
“Is a work an opera simply because its creators choose to call it one?”
For all its rich evocations of 18th century Vienna and skillful balancing of slapstick and the sublime, Der Rosenkavalier’s popularity has always been rooted in its vivid principal characters.
Press quotes on the back of this new release from EMI of Georges Bizet’s masterpiece promise ”a stylish and cliché-free Carmen” and on most fronts I think it’s a fair assessment.
Those of you who have longed to see a theme-park production of Gounod’s simple, romantic opera Romeo et Juliette, rejoice!
To imagine that I have anything new to say about Maria Callas’ 1957 performance of Anna Bolena at La Scala is sheer pomposity.
After 23 years, the Queen of Carthage has finally made it to Manhattan.
Camille Saint-Saëns was such a brilliant, facile musician that pals like Wagner and Liszt felt a distinct schadenfreude when he suffered composer’s block.
Rule Britannia? Often during the Olympics that famous number from Thomas Arne’s 1740 Alfred echoed in my ears.
Like New Yorkers, opera tends to flee the city in summer.
Karol Szymanowski’s 1926 King Roger was the sleeper hit of SFO’s season, not so much for its weird, mystical theme and feeble libretto but because the music is powerfully effective.
You Parterrestrials know all about Santa Fe Opera’s amazing mountain setting and open-sided theater affording breathtaking sunsets, weather-related drama and–when the back stage wall is opened–starry backdrops, but it was my first visit, so indulge me a little.
Beethoven expressed it best when he reportedly threw Rossini shade: “Any other other style than opera buffa would do violence to your nature.”
Unlike Mozart, the young Gioacchino Rossini seldom let his ambitions strain relations with employers.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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