Late Callas singing Maria from “Figlia del Reggimento” a role she wisely never attempted on stage.
Who knew that rehearing a performance you believed had become nothing more than a cherished memory would have such healing properties during a time of bereavement?
The ham in this pandemic-era let’s-put-on-a-show Elisir duet (from the Met at Home broadcast) may make the performance more sooey than sui generis. But I find it irresistible.
Well, it’s a clip from Mary Zimmermann‘s production of Lucia di Lammermoor… wait, wait, come back!
Does anyone remember Beverly Sills as the three Donizetti queens at NYCO? This made a huge impression on me.
The Met’s 2022 Lucia was divisive, to say the least, but it was the first time Lucia truly resonated with me.
In terms of elegance and beauty of execution, Renato Bruson is in a class by himself among Donizetti baritones.
Walking out of this Lucia performance from October 2010, my companion said to me, “No mystery who Seattle Opera’s Artist of the Year is going to be.” Aleksandra Kurzak did end up getting that award, to no one’s surprise!
My favorite scene in my favourite Donizetti opera. Even if she does go ahead and sing that damnable cabaletta, it’s Mariella Devia and she can do little RONG.
I’m convinced that someone else will claim this Donizetti opera before I do, but Maria Stuarda is definitely my very favorite Donizetti opera.
Kind of self-explanatory, but Maria Callas‘s mad scene in Anna Bolena has truly ruined this music for me.
A friend who frequents these pages recently turned me on to a Donizetti cantata that I had never heard of: his setting of the speech of Dante‘s Conte Ugolino.
Leyla Gencer cussing out Shirley Verrett’s Elisabetta so convincingly the audience spontaneously breaks out in applause and bravas.
In 1972, when I was 12 years old, my mother took me to the Salzburg Festival.
One of my favorite scenes from Donizetti is the Act I finale from Anna Bolena.
La Favorita is my favorita. Whether it’s Favorita or Favorite, I love them both.
Fiorenza Cossotto in her prime had few equals, particularly in the Italian repertoire
Donizetti wrote so much great music, it’s hard to single out a favorite opera, or even a preferred aria!
After her Mimìs in the springtime Bohème, she will perhaps be less under the radar here.
Ida Miccolis (1920-2005), Brazilian soprano, never or rarely sang outside Brazil.
One of the great Rossini sopranos of the 1980s and sadly under-recorded in that rep.
Reading Dorothy Kirsten‘s autobiography twice last year made me revisit her work anew.
I discovered this magical soprano when I was a teenager, and came across a mixed program RCA Victor LP recital.
Maria Caniglia sings with unabashed commitment and honesty. She sings as if the music was born with her.
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.
