Soprano Patricia Racette is superb in La Voix Humaine, a work that she makes absolutely her own.
Soprano Ashley Marie Robillard and mezzo Siena Licht Miller evoke a journey to Paris, Venice, Berlin, and London.
It would be hard to imagine a more apt and poignant metaphor for the ambitious O18 Festival than the world premiere of Lembit Beecher and Hannah Moscovitch’s Sky on Swings.
Orfeo’s latest edition is a 1978 performance of Lucia di Lammermoor with a very estimable cast that on its surface may seem a tad mundane but the extensive liner notes (with performance photos) tell the story of why it held such magic.
To heck with Bayreuth and Salzburg, Glimmerglass and Santa Fe as Rosa Feola sang Mozart at Lincoln Center Friday night and I wouldn’t have been anywhere else!
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
“Hey. Sorry to trouble you. I was wondering if I could have a word with my client.”
I attended the Sunday, May 13, performance with bittersweet anticipation.
“Trove Thursday” turns its Rossini-150 series to one of the composer’s least known but tastiest comic gems La Pietra del Paragone with Julia Hamari, Justino Diaz, Alessandro Corbelli, Claudio Desderi and Paolo Barbacini conducted by Roberto Abbado.
Heartbeat is, after all, a company that loves to tinker.
Our Own JJ catches up with the tail end of the Met season.
For tonight’s distinguished premiere of Lucia di Lammermoor at the Algonquin Opera, there would in fact be far more blue hairs in the audience than blue collars.
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?
Next week the Italian soprano Mariella Devia celebrates her 70th birthday so “Trove Thursday” salutes her with one of her earliest New York successes: Delibes’s Lakmé
Edita Gruberova essentially revived and propagated the bel canto repertoire in central Europe, specifically in the German-speaking countries.
Lucia di Lammermoor, a bloody story of a young woman’s mental degeneracy amidst feuding families, remains Donizetti’s most popular exploration of the landscape and culture of Britain.
>Verdi’s marvelous yet neglected Luisa Miller finally returns to the Met later this month after an absence of a dozen years so “Trove Thursday” provides a preview.
At last, Jesús Halévy had found the right size. The small ecru sweater was buried beneath a stack of extra-larges at the Macy’s on Herald Square.
The Summer of 1983 is when “it” happened.
It was already nearly two o’clock in the morning, late for a work night, and Nixon Ben Mahmoud was ashamed to find himself crying real tears.
Jerold Offerman had spent the day readying the Algonquin Opera orchestra for a high-profile, high-stakes revival of Lucia, and things weren’t going well with the glass harmonica.
On this day in 1912 Pietro Mascagni’s Lodoletta had its United States premiere at the Metropolitan with Geraldine Farrar and Enrico Caruso in the leading roles.
Hansel and Gretel might just be the best thing the Met has done so far this season.
Psychology is encoded in the composer’s vocal lines more than his librettist’s words.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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