Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
April brought I Puritani to Palermo’s centerpiece Teatro Massimo.
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.
It can be confidently asserted that Edita Gruberova is one opera’s most gifted comediennes.
In observance of Edita’s Gruberova’s 50th anniversary in opera, I would like to offer a series of commentaries, over successive days, of my favorite performances.
It was an afternoon of spectacular singing, particularly from the two principals and the glorious Lyric Opera Chorus.
Ali Baba ou Les Quarantes Voleurs continues straight-tone September with Teresa Stich-Randall as its heroine while Alfredo Kraus scales the heights with another Nadir.
I first went bonkers for Bellini’s masterpiece during the previous century when the Met remounted it for Joan Sutherland.
“Trove Thursday” offers Gemma di Vergy with the lovely, largely now forgotten Adriana Maliponte in the title role.
Lyric Opera of Chicago presented a highly anticipated joint recital featuring tenor Lawrence Brownlee, bass-baritone Eric Owens, and accompanist Craig Terry.
Saturday night the Los Angeles Opera threw itself a party.
Pretty Yende was still hanging around after her last Barbiere and she knows the role of Elvira, having sung it in Zurich last June.
Someone—a deranged purist no doubt—heckled Javier Camarena from the balcony of the opera house for withholding the infamous high F during “Credeasi, misera.”
How many books have been published about Anna Maria Sofia Cecilia Kalogeropoulou Meneghini Callas, great operatic goddess of the dark arts?
The 2016 Richard Tucker Award recipient is Tamara Wilson.
In how many operas does the heroine drink poison and then go lengthily mad?
During its first-ever Roberto Devereux Thursday evening one felt transported back to the Volpe years: four of the Met’s biggest stars shining in an opulent (if occasionally perverse) but reassuringly non-challenging production paid for by Sybil B. Harrington.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Whatever happened to Stefania Bonfadelli?
After nearly three years and over 20 performances Michael Mayer’s “Las Vegas” production of Rigoletto at the Metropolitan Opera still outrages many.
“Go while the going is good. Knowing when to leave may be the smartest thing anyone can learn,” sings Fran in Promises, Promises, the 1968 Hal David/Burt Bacharach musical which apparently Edita Gruberová has never seen.
Olga Peretyatko has officially left the chorus.
Three nights, three concert halls, and three incredibly diverse programmes.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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