A new recording by the London Symphony Orchestra is the latest landmark in a spring full of Janácek‘s Jenufa
Following last week’s performances in Cleveland, Ronnie Banerjee compares six different versions of the Kostelnicka’s monologue from Leos Janácek’s Jenufa for “Perspectives on an Aria”
The Met’s mostly successful revivals of The Queen of Spades and La bohème showcase the returns of Sonya Yoncheva and Corinne Winters
Cameron Kelsall reports on a transcendent Jenufa from the Cleveland Orchestra
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.
Following Gundula Janowitz and Janet Baker, Chris’s Cache sends birthday greetings to another favorite diva—Karita Matilla—with a quartet of broadcasts.
Leos Janácek’s rise to international prominence as a Titan of music was dovetailed by a cluster of profoundly original operas that were written during his extraordinary autumnal years.
Nothing says “diva” like an insane recital program.
Leos Janacek’s 1904 opera Jenufa could be a rather grim affair.
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.
After attending three Met Lohengrins I’ve gone into Wagner withdrawal waiting for the upcoming Der Fliegende Holländer.
The second act of Dream of the Red Chamber reached the apex and provided the audience with soul-stirring fulfillment.
Gabriela Benacková, one of Trove Thursday’s favorite sopranos, turns 75 tomorrow, so we celebrate with two rare complete Verdi portrayals.
In the month and a half leading to Bernard Haitink’s passing on October 21, my AirPods constantly channeled a musical festival of sorts centered on the Dutch giant’s expansive discography.
Trove Thursday celebrates Christa Ludwig with live excerpts from 1955 through 1982.
Kennedy Center could not have predicted just how aptly Saturday evening’s rescheduled recital of 2020 Marian Anderson Award winner, baritone Will Liverman, would respond to the moment.
For this, the 250th edition of Trove Thursday, [hold for applause] a broadcast of a memorable evening at Carnegie Hall—and I was there: Smetana’s stirring Libuse, the Czech national opera, with a transcendent Gabriela Benackova as its titular prophetess.
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.
Two of the leading postwar Czech sopranos appear together in Janacek’s Kát’a Kabanová when Trove Thursday presents Gabriela Benacková‘s gleaming heroine in her US debut relentlessly persecuted by Nadjezhda Kniplová’s implacable mother-in-law.
Later this month Asmik Grigorian will star in Covent Garden’s new Jenufa, which Trove Thursday anticipates presenting the acclaimed Lithuanian soprano in a broadcast from 2014 of Tchaikovsky’s rare opera The Enchantress (Charodeyka).
“Trove Thursday” remembers the company’s very first Lady Macbeth via Leonie Rysanek’s NYC debut in a concert performance of Verdi’s Shakespeare masterpiece less than a year before her first Met appearance.
David Alden’s acclaimed production of Leos Janácek’s Jenufa was mounted for its final performance of the season during the evening that I experienced my first opera at Santa Fe.
“Who knows what evil lurks in the hearts of men?” went the introduction to the 1940s radio program The Shadow, an apt description for the San Francisco Opera’s production of Rusalka.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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