American soprano Gianna Rolandi died Sunday morning, according to a number of her friends and colleagues. She was 68.
Were Joan Sutherland and Marilyn Horne 20th century opera’s ultimate same-sex pairing?
Starring Pretty Yende, Stephanie Blythe, Kathleen Turner, Javier Camarena, and Maurizio Muraro, conducted by Enrique Mazzola. Production by Laurent Pelly. From March 2, 2019.
The American Opera Society introduced many important singers to New York City audiences, but few were as controversial as the Greek soprano Elena Souliotis; Trove Thursday offers her local debut (at age 23) in Anna Bolena with Marilyn Horne, Janet Baker, Plácido Domingo and Carlo Cava.
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.
Trove Thursday begins February with two striking versions of Rossini’s Tancredi.
During the 70s, Kiri Te Kanawa, particularly singing Mozart, became one of my favorite singers.
Happy New Year, dear readers, from me, Callum, and Christine Goerke’s headband-tiara!
A recent discussion here about Gianna Rolandi prompts Trove Thursday to present the American soprano in a rare trouser role in an even rarer opera, Cimarosa’s Gli Orazi e I Curiazi paired with Anna Caterina Antonacci.
Sunday evening Los Angeles Opera presented tenor Javier Camarena in recital to a wildly enthusiastic audience from the stage of the Dorothy Chandler Pavilion.
Saturday August 17 the Merola Opera Program wrapped up its annual Summer Festival with the Merola Grand Finale concert at the War Memorial Opera House.
While Luciano Pavarotti may have brought opera to the people, once he realized how lucrative it could be, there was a string of promoters who helped him turn all that adoration into cold hard cash.
Saturday night, Lyric Opera of Chicago gave us a wonderful evening of vocalism in honoring Renée Fleming’s 25th anniversary at Lyric.
La Fille du Régiment, Donizetti’s half-spoken ode to La France about a girl raised by a division of daddies, is at once infamous and beloved for the string of nine high C’s capping act one.
Alexander Birch Elliott‘ s dynamic if gauche Zurga added some pizzazz to an otherwise bland evening.
Celebrating its third anniversary and next week’s Met opening, “Trove Thursday” offers a sumptuous banquet of the third and final chapter of divas in the “wrong language.”
The new cast at the Met suggested an alliterative retitling of Lucia di Lammermoor was needed—perhaps Lost Loonies in Love or its Italian equivalent?
Edita Gruberova essentially revived and propagated the bel canto repertoire in central Europe, specifically in the German-speaking countries.
It can be confidently asserted that Edita Gruberova is one opera’s most gifted comediennes.
“Trove Thursday” offers Gemma di Vergy with the lovely, largely now forgotten Adriana Maliponte in the title role.
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
Lyric Opera of Chicago presented a highly anticipated joint recital featuring tenor Lawrence Brownlee, bass-baritone Eric Owens, and accompanist Craig Terry.
Miss Battle was greeted with a thunderous ovation befitting a beloved singer at the end of an illustrious career.
Washington National Opera offered a shellshocked D.C. some much-needed diversion Saturday night, with a new production of La Fille du Regiment.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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