Riccardo Muti’s vision of Aida’s score largely emerged as one of subtlety, musicality, and restraint.
Amore Opera, an old-fashioned, adventurous little company that performs ambitious and sometimes delectably obscure but worthy repertory at the Riverside Theatre, is now (through Sunday) presenting Un ballo in maschera.
The Canadian Opera Company’s new production of Otello is a collection of welcome returns.
Zelmira, a work of 1822, was the last of the eight operas Rossini composed for the Teatro San Carlo in Naples, then the largest opera house in Italy—perhaps in Europe.
Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)
Although Gustav Mahler never wrote an opera, his colossal Eighth Symphony “The Symphony of a Thousand” may give us some glimpses of what a Mahler opera might have sounded like
A double-barreled “Trove Thursday” birthday salute to Renée Fleming who turns 60 today.
There are, on rare occasions, moments in a live performance where some intangible symbiotic relationship between audience and performer creates an instant that borders on the sublime.
At tonight’s performance of Aida at the Met, the Triumphal Scene horses suddenly panicked and tried to bolt from the stage. I can’t say I blame them.
Use bodily force and get your friends to one of the next five performances of the Met’s new production of Adriana Lecouvreur. It is everything!
The long evening didn’t achieve the degree of celebration it should have.
L’Arlesiana in a vibrant live performance from a dozen years ago with Giuseppe Filianoti, Latonia Moore and Marianne Cornetti.
It had something for everyone who loves loud chesty singing and smoky soft-singing: from Tchaikovsky to Rachmaninoff to Strauss…
Mussorgsky’s Boris Godunov must be Russian’s most iconic opera and “Trove Thursday” presents it with Claudio Abbado leading an impressive team.
Sondra Radvanovsky changed my opinion of her through a single performance—I’ll never think of her the same way again; the power of her singing overwhelmed my previous impressions.
Isn’t it nice to know a lot? And a little bit not.
Anna Netrebko is the greatest performing artist singing opera today. Nobody else comes close; she makes me love her in a way that verges on the erotic.
For opening night 2018, the Met offered the creaky but appealing biblical epic Samson et Dalila, presumably as a vehicle for Elina Garanca and Roberto Alagna.
Odyssey Opera in Boston, which loves to open its season with a concert performance of some forgotten work, gave La Reine de Saba in Jordan Hall Saturday night.
Celebrating its third anniversary and next week’s Met opening, “Trove Thursday” offers a sumptuous banquet of the third and final chapter of divas in the “wrong language.”
“Trove Thursday” gives a preview of Saint-Saëns’s Samson et Dalila with a broadcast featuring an unexpected temptress—Dolora Zajick—who will celebrate the 30th anniversary of her Met debut next month.
Armide with a superbly grand Francophone heroine in Karina Gauvin and conducted by the always excellent Ivor Bolton.
The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.
Maria Callas’s most outstanding Adalgisa, out of all she partnered with, was Fiorenza Cossotto.
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.