Such clean, beautifully poised technique, rich timbre, gorgeous agility…the anti-Melba
A currently active dramatic coloratura who has the voice and technique for Odabella! how often do we see that?
I first saw her perform with Portland Opera in Lucia. I subsequently saw her in Traviata, also in Portland. Later, I saw her as both Gilda and Juliette as the Met.
Not sure if she’s under-appreciated per se, but hers is my favorite Manon Lescaut with Jussi Björling.
The assumption is that singers, singing in their own language, will be more expressive and idiomatic. The reality is that it often seldom makes a difference.
Diana Soviero, America’s standard-setter in Puccini and verismo — an artist whose vocalism was luminous, and whose inner conviction achieved the ultimate in shattering, profoundly moving emotional intensity.
I first heard Patrizia Ciofi in a production of La traviata from Venice. It was a very modern production set in present day, but still she shown through her performance was just incredible.
East Germany’s Hochdramatische icon, Berlin’s local Nachtigall.
Unfortunately, Barbara Haveman does not perform very much anymore and she did not leave many recordings.
My parents- heroes that they were- used to drive me to Tower Records in Piccadilly Circus (RIP, to both the store and while we’re here, to my parents) after dinner on my birthday, to take advantage of the fact that it was open until midnight.
Many of us of a certain age had the good luck to see Benita Valente frequently at the Met. My memory is that she was treated rather like a house singer at first, and only later was appreciated for her extraordinary gifts.
Following the successful launch of the new regular feature The Talk of the Town in January, the team at the box is inviting contributions for a new quarter of operatic potpourri.
Mussorgsky‘s Khovanshchina is one of the most gripping operatic political dramas ever written, with lots of gorgeous melodies and superb choral writing.
Great score; let anyone but Jeremy Sams concoct a new libretto!
It used to be proverbial on the Met Opera Quiz, usually quoted by quiz master Edward Downes: “If you can’t remember where a certain plot event occurs … it happens in La Gioconda.”
I know that there is no chance that Met will ever do this since they have decided to focus on contemporary opera at the expense of reviving older works. Still it has some of Donizetti’s most moving and striking moments. The plot is so over the top gothic that it could still be quite effective.
More action than in Gluck‘s other great works, and plenty of opportunities for scenic spectacle.
It’s time to correct the pandemic’s error in canceling the scheduled 2020-21 production.
Samuel Barber may have had an edge as melodist over Dominick Argento, but the latter had a far better instinct as dramatist, and his 1988 setting of Henry James’s The Aspern Papers is overdue for a Met premiere. It is a gripping work of musical psychodrama.
Jonny spielt auf by Ernst Krenek could be a lot of rollicking fun, especially if a director and design team leaned into creating a 1927 world that acknowledged modernist art movements, silent film acting aesthetics, and the use of historical film footage of nightlife and cityscapes of the time.
It will never happen, but a girl can dream.
Lucrezia Borgia — given only one night more than a century ago. Giustizia per Lucrezia!!!
Now that Lisette Oropesa is doing the McVicar co-production of Maria Stuarda in Madrid, can the Met revive it with her?
While I have an entire laundry list of operas (Maria Regina d’Inghilterra, Loreley, La Wally, Sadko, The Snow Maiden, The Golden Cockerel, La Fiamma, and many others) I wish the Met would do – especially after Medea was such a success – I think realistically speaking this double-bill would be lovely for Sondra Radvanovsky at this point.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
