Jennifer Holloway, star of Salome at the Lyric Opera of Chicago, talks with Christina Colanduoni about re-launching her career as a soprano and how her Salome is “just trying not to disappear under everybody else’s rule.”
Félix Fourdrain‘s “féerie” Les Contes de Perrault by the Frivolités Parisiennes is as fun for adults as it is for children
Chris’s Cache celebrates Ewa Podles‘s long connection with Handel by featuring her in three complete, decidedly un-HIP operas spanning over twenty years
The Met’s Cinderella is a charming adaptation of Massenet’s opera. Frothy, fun, and enchanting, it is a magical holiday treat for the whole family to enjoy.
A good time seemed to be had by all though I don’t recall seeing a single child in attendance.
Pauline Viardot‘s Cendrillon hews closer to the Perrault original than either Rossini or Massenet’s more familiar retellings and is dainty in conception as a salon opera for her students.
Dell’ Arte Opera Ensemble’s “Scenes from the Tower” evening is devoted to three operas composed by women, and the metaphorical tower is women’s sequestration from the opera stage.
To mark Beverly Sills’s 90th birthday (May 25, 1929) “Trove Thursday” offers the late diva’s acclaimed Massenet heroine opposite her ideal Des Grieux, Alain Vanzo.
La Fille du Régiment, Donizetti’s half-spoken ode to La France about a girl raised by a division of daddies, is at once infamous and beloved for the string of nine high C’s capping act one.
Jules Massenet’s version of the Cinderella fairy tale, Cendrillon, seems to be back in vogue after many years of obscurity.
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.”
The new cast at the Met suggested an alliterative retitling of Lucia di Lammermoor was needed—perhaps Lost Loonies in Love or its Italian equivalent?
I had my head in my hands groaning in disbelief instead of joining in the general applause around me.
Why, only now, Cendrillon is having its premiere at the Met is a puzzling question.
“Trove Thursday” offers a vernal take on Massenet’s magical Cendrillon (in English) featuring two sopranos: Margaret Price—not yet 30—and Anne Pashley, then just 35.
Forgotten operas when revived may prove to be only their own reward.
A wonderfully committed Ailyn Pérez and Gerald Finley at Saturday afternoon’s revival abetted by Emmanuel Villaume’s passionate conducting converted me to a Thaïs believer.
New York City isn’t a bad place to live, operatically-speaking.
Joyce, Javier and now Julia—this week these three remarkable Js brought New York City memorable “Cinderella stories.”
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
It’s hard to come up with any sensible reason to dislike Joyce DiDonato.
As a child I had but a few criteria that were necessary to ensure a happy entertainment. These included mostly ball-gowns, fairy godmothers and Julie Andrews, though Sally Ann Howes was acceptable in a pinch.
UPDATE: La Cieca has just heard that the “dark season” is not a done deal just yet. The NYCO board meets next week to make that decision. (Given how late in the game this is, most likely the “decision” will be no more than a formality. But La Cieca will keep her ear to the…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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