Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
For Niel Rishoi, a new CD of Bellini, Donizetti, and Verdi by Eleonora Burrato for Pentatone can’t help but invite unflattering comparisons
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.
These are my findings and opinions (and I welcome rebuttals)!
In the last weeks of January, as the Metropolitan Opera season wound to a close (prior to the winter hiatus) two striking sopranos were thrust into the limelight.
In an era when the Metropolitan Opera cannot cast an Aida, Trovatore or Forza consistently, New Amsterdam Opera managed to cast large, attractive and fully technically capable voices in all the cruelly demanding principal roles in I Vespri Siciliani!
Franco Corelli was born on April 8, 1921 in Ancona and Trove Thursday celebrates the matinee-idol tenor’s centenary with a pair of his rare non-Met US appearances; seducing Marie Collier in La Fanciulla del West and vacillating between Ilva Ligabue and Grace Bumbry in Il Trovatore.
Off-and-on since last fall my PPP (Personal Pandemic Project) has been assembling a chronology of the American Opera Society. For 19 years beginning in 1951 it presented a remarkable series of concert performances of works unperformed by either the Met or New York City Opera.
Nathan Hull was an operatic Quixote who did not go it alone, but inspired bands of optimists, giving proper employment to the many worthy New Yorkers mad enough to study voice and pleasure rare elsewhere to those of us thrilled to take it in.
Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.
Otto Nicolai’s Il Templario with Juan Diego Flórez, Clémentine Margaine and Luca Salsi.
Sunday evening Los Angeles Opera presented tenor Javier Camarena in recital to a wildly enthusiastic audience from the stage of the Dorothy Chandler Pavilion.
I can’t think of an opera this year that I’ve enjoyed as much as Tuesday’s Met Macbeth, thanks especially to the smashing house debut of Italian soprano Anna Pirozzi as its blazing Madame M.
The four leading roles in La Straniera were all attractively cast by Teatro Nuovo with fresh, promising young voices that did not seem quite ready for the big time.
Just over a month ago the great Catalan soprano Montserrat Caballé died at age 85.
“Trove Thursday” offers due local Lombardi: one with Renata Scotto and José Carreras, the other with Aprile Millo and Carlo Bergonzi.
>Verdi’s marvelous yet neglected Luisa Miller finally returns to the Met later this month after an absence of a dozen years so “Trove Thursday” provides a preview.
Vincenzo Bellini’s La Straniera was presented at George Washington University’s dreary Lisner Hall on Sunday.
The second half of Warner Classics’ Maria Callas Live Remastered set represents the years 1954 to 1964 in the career of La Divina.
Will Crutchfield’s Bel Canto at Caramoor program of concert operas concluded with a bang on Saturday with Bellini’s first success, Il Pirata.
Endlessly extricating her from existing contracts then negotiating new ones must make being Sonya Yoncheva’s manager the hardest job in the music business.
A week from Saturday Will Crutchfield’s “Bel Canto at Caramoor” ends a 20-year run with Il Pirata.
Opera at Caramoor rallied Sunday afternoon with an admirable if erratic performance of Fidelio which was especially memorable for South African soprano Elza van den Heever’s thrilling first-ever Leonore.
On her 90th birthday “Trove Thursday” presents the late great Belgian mezzo Rita Gorr parenting Régine Crespin in Massenet’s Hérodiade.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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