Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
Franz Welser-Möst leads a rigorous, if emotionally staid, performance of Verdi‘s Requiem at Carnegie Hall.
Jonas Kaufmann has a new lieder album called Doppelgänger, but the contents of the album vary depending on how you purchase it.
My recollections of Hurricane Katrina, which made landfall in Louisiana twenty years ago today, come with a pair of odd bookends: it starts with Verdi’s Don Carlo and ends with Puccini’s Il trittico.
Corinne Winters is back at the Met and back in the pages of parterre box, which inclines us to share a bit of Winters in Jenufa
Asmik Grigorian’s scorching turn in Il trittico in Paris has Nigel Wilkinson wondering, ‘what is it that makes Americans so weepy?’
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
To the extent that singers should be considered stewards of their repertoire, equating bad singing to whatever “verismo” is will only be to the detriment of verismo.
The rule that governs Dante’s Inferno is called the “contrapasso” – that every sinner is given a punishment in poetic proportion to their crime.
Nothing says “diva” like an insane recital program.
The opera took place on an actual boat: the Lightship Ambrose in the South Street Seaport.
There is a moment about 75% of the way through the Rome Narrative where you can almost literally hear Tannhäuser’s stomach turn.
On this date in 1991 the Metropolitan Opera presented the world premiere of John Corigliano‘s The Ghosts of Versailles.
Giacomo Puccini’s La fanciulla del West may have its detractors (Stravinsky referred to it as a “horse-opera’) but you will not find me among them.
With La Scala’s plan to open on December 7 with a new Lucia di Lammermoor thwarted, Trove Thursday sets its Wayback Machine to nearly 50 years ago to present two of the 20th century’s greatest madwomen—Joan Sutherland and Beverly Sills—denounced by Plàcido Domingo and Alfredo Kraus respectively, with the former pair consoled by Kurt Moll‘s luxurious Raimundo.
Trove Thursday offers a problematic yet fascinating work that would almost certainly not be staged today: Il Guarany by Carlos Gomes featuring João Gibin, Gianna d’Angelo, Piero Cappuccilli and Nicola Zaccaria.
At Friday’s opening of Otello, there was a good deal of interesting going on, though not all of it necessarily onstage.
The long evening didn’t achieve the degree of celebration it should have.
The proceedings took the virtue of longevity too much to heart; the night stretched on interminably.
In the midst of Tosca month “Trove Thursday” assembles from the 60s to the 80s an Il Trittico in which each opera features an important Italian star.
Were La Rondine an IQ test, I’d be in trouble.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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