Our selected Rosenkavalier video overview closes out the 20th-century selections, crosses the millennial mark, and includes the first of our performances to depart from the opera’s prescribed 18th-century setting.
Benjamin Britten’s War Requiem with Anna Netrebko, Ian Bostrdge, and Thomas Hampson in an incredibly moving performance from the 2013 Salzburger Festspiele.
A week from tonight the Met premieres an eagerly anticipated new Der Rosenkavalier, its first in nearly 50 years—probably to the dismay of many grown used to the venerable Nathaniel Merrill–Robert O’Hearn production. As a preview “Trove Thursday” offers a live broadcast of Richard Strauss’s most popular opera with a delicious cast headed by Régine…
I entered the Dorothy Chandler Pavilion on Saturday night for LA Opera’s 30 year old revival of their production of Salome with a combination of enthusiasm and apprehension.
I can scarcely remember a performance where so many conflicting thoughts raced through my mind as happened Thursday night during the Met Orchestra’s “bleeding chunks” of Wagner’s Ring at Carnegie Hall.
Sunday afternoon’s all-Richard Strauss concert served as a de facto commemoration of the 25th anniversary of the debut of Renée Fleming, long one of the house’s biggest stars.
“Trove Thursday” presents Sena Jurinac‘s radiant portrayal of Janacek’s Jenufa opposite the implacable Kostelnicka of Martha Mödl.
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
This was a Rosenkavalier that aspired to excellence and almost achieved it.
God, I love that photo of Lisa della Casa. She can sing, too!
Well that’s a terrible place to start a review, and it’s not quite fair to SFO’s Lucia di Lammermoor, but…
If you had told me 20 years ago that at some point in the future I would have over 550 of the Metropolitan Opera’s performances, audio and video, at my command with the touch of a button I would say my eulogy had just been read and I’d been taken to my reward.
LA Opera opened their 30th season with a pairing of two of their most popular productions, both of which were initially staged by filmmakers not unfamiliar with the vagaries of our industry outpost here in Hollywoodland.
Homer, inspired by many a muse, sang not of sequels to his Iliad.
As is happening increasingly in opera productions today (e.g., the Rosenkavalier in Stuttgart), the action of Moses und Aron at the Komische Oper begins some minutes before the music does.
It will come to no surprise to followers of the direction of Stefan Herheim (or to readers of La Cieca’s gushing fangirl appreciations of his work) that his Stuttgart production of Der Rosenkavalier was as “delightfully busy” as we have come to expect.
All those who have been in a rage since the news broke this week that the Metropolitan Opera has invited Calixto Bieito to stage Verdi’s La Forza del Destino can relax and embrace the Juilliard Opera’s new Le Nozze di Figaro which opened Friday night.
Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall.
The opening night of the Metropolitan Opera of September 1972 was supposed to be the dawn of a new era.
Christian Thielemann’s spirited, precise conducting and the superb, sumptuous playing of the Staatskapelle Dresden are the finest features of this strongly cast performance of Strauss’s Arabella.
My first experience with John Corigliano’s music was in high school with the ear and mind blowing score he wrote for Ken Russell’s film Altered States.
“With radiant looks, we shall depart this world,” sing Konstanze and Belmonte near the end of Mozart’s exotic yet charming opera Singspiel Die Entführung aus dem Serail.
Each year, Leon Botstein leads the American Symphony Orchestra in a concert opera or two.
It’s hard to come up with any sensible reason to dislike Joyce DiDonato.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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