I was shocked to realize I hadn’t seen Don Giovanni at the Met since Michael Grandage’s stultifying production opened in 2011.
Although she didn’t sing that eponymous song by Reynaldo Hahn at Weill Recital Hall Thursday evening, Sabine Devieilhe did offer an “exquisite hour” of early 20th century French songs.
We close 2018 with Le Comte Ory with an enviable nearly all-Italian cast of prime-time Rossini specialists: Mariella Devia, Cecila Bartoli, Ewa Podles, William Matteuzzi, Claudio Desderi and Pietro Spagnoli.
Tuesday the Met unveils its sixth new production of La Traviata since moving to Lincoln Center.
Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America provides ample fodder for the legions of amateur opera sleuths seeking to confirm their theory of “Who Killed City Opera?”
This week’s star-spangled “Trove Thursday” offers the second crazy-quilt installment of divas in the wrong language.
How did you first grow interested in singing?
The Verdi Chorus celebrated their 35th anniversary with their spring concert weekend entitled The Force of Destiny last Saturday night and Sunday afternoon.
It can be confidently asserted that Edita Gruberova is one opera’s most gifted comediennes.
“Trove Thursday” presents a live Tristan 2 concert featuring one of my favorite dramatic sopranos. Gertrude Grob-Prandl.
Weekends at Aura Bar on 53rd and Ninth are typically big money makers for the morons who run the place. Jonjon and Yoni.
“Trove Thursday” celebrates with Carlos Kleiber conducting Johann Strauss, Jr.’s Die Fledermaus.
“Trove Thursday” celebrates the thrilling Finnish soprano Karita Matilla in the ultimate diva role.
Were La Rondine an IQ test, I’d be in trouble.
In The Gypsy Baron (Der Zigeunerbaron), currently (through Sunday) enjoying a revival by the Manhattan School of Music Opera Theater, you get Strauss waltzes and patriotic marches.
Saturday night the Los Angeles Opera threw itself a party.
Since Gilbert and Sullivan remain constant in the light-opera repertory, somewhere between Fledermaus and Les Mis in popular esteem, there must be good reasons their final collaboration, The Grand Duke, is seldom revived.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
Jonny spielt auf, the second opera by 26-year-old composer Ernest K?enek, was such a huge success after its 1927 Leipzig premiere that in the following season it was performed 491 times in Germany alone.
“Trove Thursday” offers a Der Fliegende Holländer from New York City Opera featuring the underrated American soprano Johanna Meier.
According to my taste, Die Fledermaus is an intoxicating opera
That Placido Domingo and James Levine, the Met’s inexorable septuagenarians, would team up yet again—on April Fools’ Day, no less—for a revival of Verdi’s Simon Boccanegra occasioned an uncomfortable degree of doubt and dread.
Anna Moffo made some of the most entrancing records ever. Their appeal is to “voice fanciers.” (I understand. We’re a despised group.) But Moffo’s best work renders us helpless.
Gather around while I play Ghost of New Year’s Eve past!
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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