Just in time for this month’s theme of filth or dementia, a review of Terrence McNally‘s Master Class from Central City Opera.
After success at the Met as Turandot and before a historic Medea, soprano Anna Pirozzi talks to Harry Rose about her voice, her repertoire, and where her “second explosion of career” is taking her.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
I’ve looked to Sherrill Milnes many a time for insight and guidance whenever I’ve added a new Verdi role to my repertoire.
The purely musical performance preserved here is thrilling, ratcheted to a higher intensity than the Deutsche Grammophon studio recording
SoCal goes Scandi in two recent concerts, with one featuring an appearance by Lise Davidsen.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Simon Boccanegra has never felt as foreboding or prophetic as it did at a recent performance at La Fenice.
I don’t know if it’s overrated because I don’t think anyone rates it, but for pure party disc joy not much beats this 2018 recording of the original 1847 version of Verdi‘s Macbeth.
A starry (and potentially annual) Christmas gala lights up Carnegie Hall.
The timing for Boston Lyric Opera’s production of Macbeth this weekend was perfect for Halloween, though the show itself at the Emerson Colonial Theatre was decidedly less spooky.
Macbeth at the Festival Verdi in Parma aims big — on a small scale
Anna Pirozzi and Luca Salsi reunite in blazing form in Tosca at the Teatro San Carlo
Peter Sellars‘s triple bill of Viennese modernism featuring Erwartung and a concert performance of The Raft of the Medusa stare down death at the Salzburg Festival
Mexican soprano Gilda Cruz-Romo died on 28 June at the age of 85 and Chris’s Cache remembers her with live recordings of a frequent role and a rather rare one: a last-minute Met Tosca plus perhaps her only stab at the Cherubini Medea.
In the 1847 version of Macbeth, the forces of Teatro Nuovo lacked the thunderous punch this music can pack, but provided a pleasant ride
The opening of Teatro Nuovo’s Macbeth next week is the first of two opportunities this year to hear the opera in its original 1847 Version
According to the memoirs of Alma Mahler, her third husband, Franz Werfel used to wander around the cafés of Paris with one of his chums, singing arias from obscure Verdi operas at the top of their lungs until the management would ask them to move on.
By the time the curtain rose on Verdi’s Luisa Miller last Sunday in Washington Concert Opera’s final show of the season, the originally announced line-up was about as accurate as a federal agency org chart from February.
Prompted by Washington Concert Opera’s upcoming Luisa Miller, Chris Cache’s misbehaves five times by offering just the opera’s final act with sopranos from the 1970s, some of whom might be considered “under-appreciated”: Gabriella Tucci, Adriana Maliponte, Renata Scotto, Gilda Cruz-Romo, and Katia Ricciarelli.
Larry Wolff continues his musings on Verdi’s varied career, this time over Giovanna d’Arco at the Teatro Regio in Parma
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