Coming as Peter Gelb did from the music industry, opera lovers hoped that he would display a more distinctive knack for casting and an improved talent pipeline than Joe Volpe offered during the waning years of his tenure.
As someone who thinks Verdi is the greatest composer who ever lived and who feels pretty meh about Mozart, I expected to love the Verdi and be bored by the Mozart. I wasn’t far wrong.
We waited eagerly to hear the Munich-born Jonas Kaufmann make his role debut as Manrico at the Bavarian State Opera as well the German-Greek soprano Anja Harteros take on Leonora’s bravura difficult arias.
When I acquire DVDs of opera performances, I look for performances which truly merit a video recording; performances in which the totality of the musical and dramatic elements are worth preserving for repeated viewing.
“I didn’t think anything could be campier than Adriana. But this is nothing but camp. Adriana at least has tunes.”
One of my adolescent pastimes was trolling the classical cut-out bins in record stores searching for overlooked gems or unfamiliar singers.
At first glance, Ivor Bolton, Chief Conductor of the Mozarteum Orchestra Salzburg, would seem an odd choice to lead Jenufa, Janacek’s grim tale of infanticide and oppressive village morality.
The Monday, 12th December, Weill Hall recital debut of Signora Chiara Taigi, a strikingly good looking Italian soprano, who had made her American operatic debut this past March, starring as Selika in the OONY production of Meyerbeer’s long-neglected L’Africaine, was something Your Own Camille had looked forward to with a high hopes and a faintly…
Only because I am a member of the You Can Never Have Too Much Callas School of Opera Listening can I recommend EMI’s new release The Callas Effect. The beautifully packaged production is the size of a small paperback book and consists of two CDs with 29 arias sung by Callas plus a new 70-minute…
The career of Sondra Radvanovsky has had an odd trajectory. A veteran of the National Council Auditions and the Lindemann Young Artists program, much of her work has centered on the Metropolitan Opera, which her press materials call her “home” theater. Yet her early career there was slow in starting. After numerous Aida Priestesses, around…
Sometimes it seems as though DVDs are released just for the sake of filling a hole in the catalogue. Considering the lack of anything truly distinctive in this 2007 production of Verdi’s La forza del destino from the Maggio Musicale Fiorentino, that would certainly seem to be the case here. (If anyone is wondering, the…
Until Monday evening, I never placed Don Pasquale in my list of favorite operas, but the four principals were so magnificent that I realized just how special an opera can be when it is sung so well. Remember that works like this—Elisir, Ory, Flute, rather than Aida, Forza, etc.—can be performed beautifully today since the…
Ioan Holender was General Manager of the Wiener Staatsoper for nineteen years, the longest anyone has held this post, and the august institution honored him with the gala to end all galas in the final days of his administration. With the goal of commemorating each of the 40 new productions premiered at the Staatsoper during…
Don Carlo is truly a grand opera, Verdi’s biggest, no matter if it’s the four or five act version. It is a bitch.
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.”
As part of the massive CD/DVD release celebrating the 40th Anniversary of James Levine at the Met, “In Concert at the Met, 1982-83” offers generous excerpts from three memorable Gala Concerts: from February 1982, Troyanos-Domingo-Levine; from March 1982, Price-Horne-Levine; and from January 1983, Domingo-Milnes-Levine. I had the pleasure of being in the house for each…
There is no cry heard more often these days than, “Where are all the Verdi sopranos?!?” Yes, there was a day when we had the likes of Aprile Millo, Eva Marton, Leontyne Price, Renata Tebaldi, Maria Callas, Leonie Rysanek, Zinka Milanov and Antonietta Stella all singing in the same, say 25 or 30 years. While…
Since I had already gotten my Hanukah gift this year (my Nikon D3000 DSLR), I was surprised to receive a box from my sister this past week. One of the gifts inside was Les Urnes de l’Opera, a collection of arias and scenes recorded shortly after the turn of the last century and buried in…
Leyla Gencer: The very name is exotic. She was an artist of Turkish ancestry who, during the 1950s and 60s, held her own despite the presence of Maria Callas, Renata Tebaldi, Renata Scotto, Montserrat Caballe, and Magda Olivero, all of whom shared roles in her repertoire. Ironically, Gencer has a number of important credits attached…
In her classic romp Goin’ to Town, Mae West quipped, “When I’m good, I’m very good. But, when I’m bad, I’m better.” While Leontyne Price has never been quite so quick with the one-liners as dear Mae, she certainly can demonstrate the truth of La West’s epigram. Here, in a clip from a 1982 performance…
Like many of you, La Cieca was a little surprised at the blitz of publicity attendant upon the Met debut of Erika Sunnegardh last Saturday afternoon. A front-page feature in the New York Times, and then, a few days later, a followup article with photographs taken in the soprano’s dressing room. But did you notice…
You could say last night at the Met was a typical Aprile Millo performance, if that expression were not essentially an oxymoron. “Typical” and “Millo” really don’t intersect in this dimension (maybe somewhere on a spiritual plane? But I digress.) Let’s just say that, what happens at a Millo night, happened last night, which is…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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