I realized I hadn’t yet posted anything featuring one of the “Queens of the Bootlegs,” so I now correcting that with Puccini’s La Fanciulla del West starring the great Magda Olivero as Minnie.
There is a self-effacing quality to Jonas Kaufmann’s concert film An Evening with Puccini.
This week “Trove Thursday” brings a rare in-house recording of a visit to the Metropolitan Opera House by the Staatsoper Hamburg presenting Stravinsky’s The Rake’s Progress with a deluxe cast
A woman reads from the Bible. There is a dance scene in a tavern. The discovery of blood gives away the protagonist.
Two years before she brought the role to Wiener Staatsoper in a production somewhat dominated by Jonas Kaufmann, soprano Nina Stemme sang her first-ever Minnie in La fanciulla del West at Stockholm’s Royal Opera.
With help from the Met’s invaluable performance archive, here is a look back at just some of what you could have seen, and perhaps did see, on October 31st through the years at the Met.
There is a simple elegance to the single-composer recital album format. For the listener in the mood for, say, Puccini, it’s a chance to delve into his music without any pesky interruptions by those other guys like Verdi or Massenet. And if one is also in the mood for a particular singer’s art, then the…
Coming from placid, luxurious Geneva, where I am currently living, Berlin felt even more jarring than usual.
Giacomo Puccini’s horse-opera version of “Snow White and the Seven Dwarfs,” La Fanciulla del West, based on David Belasco’s play, The Girl of the Golden West, enjoyed the status of a curate’s egg for quite a while.
Even before Italian diva Mariella Devia had completed the stunning high D natural that capped her miraculous portrayal of Elisabetta in Donizetti’s Roberto Devereux Thursday evening at Carnegie Hall, tens, then hundreds of those in attendance leapt to their feet to shout their acclaim.
I’ve always had a fondness for Giacomo Puccini’s Suor Angelica and apparently so did he since he often referred to it as, “among the finest of my children.”
La Cieca is going to go out on a not very long limb here and say that Dick Johnson in La fanciulla del West is a great role for Jonas Kaufmann and may well turn out to be one of his three or four greatest.
Strange as it is to encounter two such disparate works presented with the identical production concept, it’s odder still that the opera you’d think would be the slam dunk is anything but.
As an opera, La Traviata is defined by its characters.
You may remember, gentle readers, that last year about this time Peter Gelb decided to enter into an unholy alliance with Target to benefit their mountainous number of opera loving customers by pre-releasing two Met performances exclusively in their fine emporiums.
Being an opera lover in Los Angeles is a lot like being a Red Sox fan. As hard as they try we never make it to the World Series, let alone the playoffs.
No programs for last night’s Fanciulla, just someone had worked overtime on the copier to give us a cast list and plot summary. If no delivery for the glossy, fully 3k people there, just slight slip and slide on the Plaza enough to keep me gripping the alpenstock. (A weapon of Individual Destruction, permitted by…
A loyal member of the cher public writes: “Very nice performance of Fanciulla last evening. Although I still love Debbie, and am quite willing to see her in anything she does, I think this was the best of the three Fanciullas I’ve seen so far.”
“The American Way of Life, lightly satirized, lies at the heart of our production: it is an adventure that takes place somewhere between Wall Street and Hollywood.” Nikolaus Lehnhoff, as can be surmised from these liner notes, makes full use of stereotypically “American” imagery throughout his production of Puccini’s La fanciulla del West: Wall Street…
Our Own Ercole Farnese discovered and translated this interview in La Stampa with Jonas Kaufmann, in which the tenor discusses his “his idolatrous success with ladies and gay men, four fifths of the opera-goers.”
Once again, La Cieca can do no better than to quote the ineffable BAB, who says, “The beauty of the Saturday afternoon Chats this summer has been that everyone picks what they want and then we compare notes with what’s happening elsewhere. Ordinarily I make no recommendations, but I have decided to do things differently…
Take a Wild Ride with a Valkyrie!! Yes, that’s what all the signs say around Old Baghdad-by-the-Bay…. So, fasten your seatbelts, y’all, it’s going to be a bumpy night! As it turned out, Die Walküre was an unexpectedly wonderful ride, marking the debut of someone who could be a very important new Brünnhilde, Nina Stemme.…
[La Cieca welcomes the newest and most lissome member of the parterre espionage force, Mlle. La Taupe, who just last night invaded the first performance of San Francisco Opera’s La fanciulla del West.] UPDATE: The last act!
Although she has made headlines on this side of the Atlantic largely because of her recent dismissal by Franco Zeffirelli from a Roman production of La traviata on the grounds of “physical inadequacy,” Daniela Dessì is a topflight star in Europe. In her native Italy she is arguably the most popular soprano currently active. Over…
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.