The second half of Warner Classics’ Maria Callas Live Remastered set represents the years 1954 to 1964 in the career of La Divina.
I first went bonkers for Bellini’s masterpiece during the previous century when the Met remounted it for Joan Sutherland.
The principal cast members for the week’s Aida are all Wagnerians: Birgit Nilsson, Sándor Kónya, Rita Gorr and Cornell MacNeil.
“Trove Thursday” offers Gemma di Vergy with the lovely, largely now forgotten Adriana Maliponte in the title role.
Will Crutchfield’s Bel Canto at Caramoor program of concert operas concluded with a bang on Saturday with Bellini’s first success, Il Pirata.
In the same season that Manhattan School of Music revived The Gypsy Baron, Riverside Theater around the corner is the site of Amore Opera’s “Season of Gypsy Operas.”
Cio-Cio and Carmen: what do you do with two tragic heroines who typify not just the sexist clichés, but also the soupy exotic fixations, of the Old-World West?
Lakmé, stars Ruth Welting, Alfredo Kraus, and Paul Plishka, conducted by Nicola Rescigno.
Saturday night the Los Angeles Opera threw itself a party.
So, how excited are you to read another piece about the Mary Zimmerman Rusalka?
Let’s call this meeting to order. My name is Patrick and I’m a boxset-aholic.
Prototype: Opera/Theatre/Now presented new works in which women were variously gang-raped, eviscerated and executed by firing squad.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
Like our beloved Cubs, Chicago Lyric Opera is in the midst of a championship season.
The 2016 Richard Tucker Award recipient is Tamara Wilson.
Donizetti’s bel canto masterpiece Lucia di Lammermoor returned to Chicago Lyric Opera on Saturday evening.
Just 85 years ago, four of Italy’s greatest opera stars gathered at Teatro all Scala for an historic event: the first-ever recording of Arrigo Boito’s sole complete opera, Mefistofele.
In how many operas does the heroine drink poison and then go lengthily mad?
Giuseppe Verdi was so unhappy with the first production of his Giovanna d’Arco at La Scala in 1845 that he swore an oath to himself that he would never entrust that theatre with a prima again.
That Placido Domingo and James Levine, the Met’s inexorable septuagenarians, would team up yet again—on April Fools’ Day, no less—for a revival of Verdi’s Simon Boccanegra occasioned an uncomfortable degree of doubt and dread.
By the time Roberto Devereux saw its premiere at Napoli’s Teatro San Carlo on 29 October, 1837, Gaetano Donizetti had lost, in an 18-month time frame, both his parents, two still-born children, and his beloved wife Virginia.
An astute double-feature exposes all the complexities of female suffering embedded within two canonical works.
These days a cadre of voluble opera-goers regularly issues dire warnings that anyone about to attend this or that production at the Met should close her eyes and just listen rather than witness yet another Peter Gelb regie “atrocity.”
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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