Between them, Maria Guleghina, Marcello Giordani, James Morris and John Del Carlo have nearly 150 combined years of service on stage.
Lisette Oropesa sang “The Lost One”—the meaning of “traviata.”
Well that’s a terrible place to start a review, and it’s not quite fair to SFO’s Lucia di Lammermoor, but…
Although the season is less than three weeks old, Metropolitan Opera audiences may hear nothing else this season as beautiful as Peter Mattei’s “Song to the Evening Star.”
One of the glorious perks of my job, which is selling luxury cruises, is that on a semi-occasional basis I get to sample the wares myself—purely from an educational standpoint, mind you.
The studio opera recording is a rare beast these days and its arrival always a cause for celebration.
Homer, inspired by many a muse, sang not of sequels to his Iliad.
Few things in opera are more exciting than a beloved young singer taking on a new role, especially in a new Fach.
I have an idea (soon to be angrily debunked in the comments section) that Le nozze di Figaro is rarely a source of unalloyed bliss to the chronic operagoer.
Poor Paisiello. Out of the nearly 100 operas written by this industrious composer just one was generally regarded as a masterpiece.
All those who have been in a rage since the news broke this week that the Metropolitan Opera has invited Calixto Bieito to stage Verdi’s La Forza del Destino can relax and embrace the Juilliard Opera’s new Le Nozze di Figaro which opened Friday night.
Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall.
As I leaned forward the woman in front of me turned to her seatmate and very quietly, in a voice thick with emotion and not a few tears, said, “it’s so beautiful.”
James Conlon, Music Director for the LA Opera, often does the pre-game lecture in the huge open space on the second floor lobby of the Dorothy Chandler Pavillion and it’s almost always a standing room only crowd.
New York City isn’t a bad place to live, operatically-speaking.
Olga Peretyatko has officially left the chorus.
For many in New York and around the world, if the name William Christie appears on a concert or opera program, it’s a must-attend.
It was a night a-tingle with excitement at the Metropolitan Opera House.
Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.
The Metropolitan Opera desperately needed a new production of Le nozze di Figaro.
It’s a place where the one thing you can expect is the unexpected. The place is… Philadelphia?
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
Music Director James Levine (pictured, left) is obviously feeling well enough that he can get back to favorite pastime, i.e., making sure nobody else has a success except him.
The Cleveland Orchestra’s premiere performance of Janacek’s Cunning Little Vixen proved to be both a critical and audience success.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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