Roger Norrington conducted Rossini’s Semiramide in Pesaro ’94 and made the Orchestra part of the drama in a way I still have never heard duplicated in a Bel Canto opera.
Many years ago, when the Met was deciding who the next principal conductor/music director was going to be, it seemed to be a tie between YN-S and Fabio Luisi.
Pierre Monteux‘s career defies time.
Daniel Barenboim’s Tristan und Isolde is a performance I keep coming back to, again and again.
I first experienced the magic of Seiji Ozawa in 1972 when I was 12 years old.
Fausto Cleva, in this glorious Fanciulla from the old Met, demonstrates all the great skills of opera conducting
I think Patanè did far more than just hold it together: he did full honor to Verdi.
Opera conductors … my favorite subject!
He has conducted some of my favorite opera recordings.
Although Ernest Ansermet is most often associated with orchestral music, his 1964 recording of Debussy’s Pelléas et Mélisande is still my favorite.
Historically, conductors were often viewed as rigid, authoritarian figures. Yannick Nézet-Séguin completely subverts this stereotype.
The artist who I feel should have made it to the Met is Patrizia Ciofi.
Giannina Arangi-Lombardi never sang at the Met.
This Mireille duet unites Andrée Esposito and Alain Vanzo and shows the timbral and stylistic qualities that made them exemplary.
Subtlety is for cowards, say the blazing Anita Cerquetti and the blaring Ebe Stignani.
Sena Jurinac, a celebrated Mozart and Strauss singer here as the Composer, a signature role.
The divine Dame Janet Baker never sang at the Metropolitan, sadly for American audiences.
We had to wait for Marian Anderson to break the color barrier at the Met and many great Black opera singers never had a chance there.
Leyla Gencer had a long European career but never sang at the Met.
A full century after her heyday, Argentine soprano Hina Spani still moves us thanks to her vivid recordings and the savants who have cherished and shared them.
The one who got away was Anna Caterina Antonacci, a thrilling performer.
Conductors, schlock, and 26-27, oh my! Make sure to weigh in on our next edition of The Talk of the Town.
In the case of Lina Bruna Rasa, the reasons why she never sang at the Met are painfully clear.
For vibrato fanciers, of course, discovering Supervia is like hitting the mother lode.
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.