Zémire et Azor, André-Ernest-Modest Grétry‘s riff on “Beauty and the Beast”, gets a rare outing in the Berkshires.
Wolf Trap Opera triumphs in a fizzy, fun Cenerentola.
Bellini and Donizetti may be top of mind these days, so Parterre Box offers two budding belcantisti, Beth Taylor and Dave Monaco, in a duet from Rossini’s La cenerentola.
A starry (and potentially annual) Christmas gala lights up Carnegie Hall.
In a splashy new recording of Norma, Marina Rebeka “is doing something very untoward, and it appears destructive to her voice.” It has Niel Rishoi worried.
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
Only by knowing what went on around the great composers is it possible to truly understand why they are great and why their operas have come down to us (and why dozens of other titles have been left behind).
Anyone arriving at Lyric Opera of Chicago’s production of Rossini’s Cinderella (La Cenerentola) expecting the Disney-fied version of the story will be in for a surprise.
A convocation of mezzos–and a pride of tenors–produce hundreds of sixteenth notes in a bewitching Rossini showpiece
Gioachino Rossini’s adorable adaptation of Cinderella famously dispenses with a slipper in favor of a bracelet to lead the Principe Ramiro back to his Cenerentola. If only this performance had benefitted from such a glittering guiding hand.
For Philadelphia opera lovers, October means the Giargiari Bel Canto Competition—a staple event for the Academy of Vocal Arts, and a pipeline for the public to discover some of their strongest resident artists.
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.
From Christian martyrs to naughty fairies, Teatro Nuovo will explore the tragic and comic sides of 19th century Italian Opera.
The wicked poisoner showed herself in fine form, full of purple passion and lusty music-making that would gladden the heart of any bel canto enthusiast or opera lover in general.
Despite the diminishing returns of her vocal means, Edita Gruberova‘s last years of her career were if anything more successful than ever.
These are my findings and opinions (and I welcome rebuttals)!
The great Spanish mezzo soprano Teresa Berganza died on May 13 at the age of 89, so Trove Thursday salutes one of its favorites with a pair of dazzling rare live Mozart performances.
A good time seemed to be had by all though I don’t recall seeing a single child in attendance.
In spite of the fact that Rossini and his librettist Jacopo Ferretti removed all the magical elements from the story, therefore making it far easier to produce, there was more than enough enchantment in the singing, and intermittently in the production to enjoy.
Live opera returns to Lincoln Center when Teatro Nuovo presents Il Barbiere di Siviglia on July 27 and 28.
American soprano Gianna Rolandi died Sunday morning, according to a number of her friends and colleagues. She was 68.
Trove Thursday celebrates Christa Ludwig with live excerpts from 1955 through 1982.
Trove Thursday offers Offenbach’s delightful La Grande-duchesse de Gérolstein featuring Jennie Tourel, Laurel Hurley and Martial Singher, led by Arnold Gamson.
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.
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.