Grand Tier Grab Bag hearkens back to the days when Sondra Radvanovsky — who is singing no Verdi at all next season — seemed like the Verdi soprano of reference.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
Old pros Gregory Kunde and Pier Luigi Pizzi anchor a new staging of Stiffelio co-produced by three theaters in Emilia-Romagna.
Prompted by Washington Concert Opera’s upcoming Luisa Miller, Chris Cache’s misbehaves five times by offering just the opera’s final act with sopranos from the 1970s, some of whom might be considered “under-appreciated”: Gabriella Tucci, Adriana Maliponte, Renata Scotto, Gilda Cruz-Romo, and Katia Ricciarelli.
My first introduction to Béla Bartók’s one-act opera Bluebeard’s Castle was the musicologist Susan McClary’s infamous book Feminine Endings. Here, McClary likened her search of a feminist musicology to Judith’s journey through the seven doors; a journey that ends in Judith’s symbolic death.
Larry Wolff continues his musings on Verdi’s varied career, this time over Giovanna d’Arco at the Teatro Regio in Parma
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Sing High, Sing Low – My favorite Fiordiligi
When asked to express some “thoughts” here about Verdi’s Il trovatore, my immediate thought was “hmm… not a lot to think about there.”
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Following the composition of Un ballo in maschera, Verdi had gone into a self-imposed retirement, at least musically; he had not composed a note in four years.
I’ve argued with myself for many years as to which was my favorite opera by Giuseppe Verdi, La forza del destino or Don Carlos. The latter finally won out especially after studying it in depth, but in the long run, it is the music of Forza that I love the most.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
This week Chris’s Cache features Maria Chiara, Elena Mauti-Nunziata, Rita Orlandi-Malaspina and Orianna Santunione in L’Amico Fritz, Mefistofele, Simon Boccanegra and La Fanciulla del West, respectively.
It was thrilling to see and hear Will Crutchfield’s insights come to life onstage in performance when Teatro Nuovo performed Poliuto at the Rose Theater at Jazz at Lincoln Center Wednesday July 19.
From Christian martyrs to naughty fairies, Teatro Nuovo will explore the tragic and comic sides of 19th century Italian Opera.
Today’s Chris’s Cache features live recordings of Otello most noteworthy for their Desdemonas: (in chronological order) Teresa Stratas, Julia Varady, Eva Marton and Karita Mattila.
On June 16, San Francisco Opera concluded their excellent Centennial Season with a heartfelt 100th Anniversary Concert, featuring a starry cast, three conductors (including current and former Music Directors) and the SF Opera Orchestra and Chorus.
Old opera productions at the end of their performing life can be sad affairs.
On this day in 1984, the Metropolitan Opera presented a new production of Zandonai’s Francesca da Rimini.
On this day in 1974 Verdi’s I Vespri Siciliani had its Metropolitan Opera stage premiere.
On this day in 1903, the Metropolitan Opera presented the company premiere of Verdi’s Ernani.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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