I sort of have a love/hate fascination with countertenors/male falsettists.
Too young to be in love. But not too young to go to war or to die.
Chris’s Cache follows up its Gounod R&J installment with a widely varied quintet of additional Romeos and Juliets
With the phenomenal cast that stacked Paris Opera’s production of I Capuleti e i Montecchi , it was easy to overlook the quirks of Bellini’s opera and get lost in the pleasures of glorious bel canto singing.
Only time can tell if some performances enter the collective opera memory, if such a thing even exists, as “historical”
Joining the Met’s week of bel canto reruns and Tuesday’s premiere of Teatro Nuovo’s exciting new project, Trove Thursday presents Bellini’s I Capuleti ed I Montecchi with Tatiana Troyanos and Cecilia Gasdia.
One of Mariella Devia‘s earliest New York successes: Delibes’s Lakmé with Nicolai Gedda and Paul Plishka.
I need to get something off my chest. I love bel canto.
Saturday August 17 the Merola Opera Program wrapped up its annual Summer Festival with the Merola Grand Finale concert at the War Memorial Opera House.
Trove Thursday offers Bellini’s La Sonnambula with Anna Moffo (San Francisco 1960) and Anna Netrebko (Vienna 2006).
The finals on Sunday seemed a bit like the modern-day operatic equivalent of the Roman colosseum.
Next week the Italian soprano Mariella Devia celebrates her 70th birthday so “Trove Thursday” salutes her with one of her earliest New York successes: Delibes’s Lakmé
Edita Gruberova essentially revived and propagated the bel canto repertoire in central Europe, specifically in the German-speaking countries.
On her 90th birthday “Trove Thursday” presents the late great Belgian mezzo Rita Gorr parenting Régine Crespin in Massenet’s Hérodiade.
After listening to “Stella di Napoli,” her mightily impressive new CD
of rare bel canto arias just released by Erato, I felt many of the old sparks reigniting.
Short answer: yes. But let’s begin by dismissing the a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.
Everyone who revives Bellini’s Beatrice di Tenda, as the Collegiate Chorale did at Carnegie Hall on Wednesday night, calls the piece an “overlooked masterpiece.”
Richard Wagner told Cosima he first got the idea of composing an opera about Tristan and Isolde while he was conducting Bellini’s I Capuleti e i Montecchi starring his muse, Wilhelmine Schröder-Devrient, in the trouser role of Romeo.
Vincent Boussard’s 2011 take on Bellini’s I Capuleti e i Montecchi returned on Saturday (May 12) to Munich’s Nationaltheater.
Our Own Sanford reports from this afternoon’s National Council Grand Finals Concert at the Met. First things first: No hunkentenors, but Edward Parks is a barihunk, and Christopher Magiera is almost a barihunk. Now to the important stuff. There were nine singers in the final, and I would say that 10 of them deserved to…
La Cieca’s all-time favorite soprano, Renata Scotto, in one of her greatest roles, Adriana Lecouvreur — if you can think of an operatic experience to rival it, La Cieca hopes you will let her know what you’re having! La Scotto is heard in her first Adriana Lecouvreur, from San Francisco in 1977, partnered by Elena…
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.