I’ll just note that Cameron and I listened separately; we didn’t compare notes; and on our own, came up with the same list of top three singers… none of whom were among the actual winners.
Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.
Lady M, an Online Fantasia on Verdi’s Macbeth, Heartbeat Opera’s creative and thought-provoking foray into the Zoom opera scene, left me feeling alternately pensive, hopeful and somewhat uneasy, in a good way.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
Rossini’s Semiramide is a highly original and imaginative work of theater that impresses for its creative and beautifully scored orchestration, incisive recitatives and ensembles, and theatrically intriguing characters.
I can’t think of an opera this year that I’ve enjoyed as much as Tuesday’s Met Macbeth, thanks especially to the smashing house debut of Italian soprano Anna Pirozzi as its blazing Madame M.
As the Netrebko-crowned Macbeth took to the stage at the Met, just a few blocks away, Teatro Grattacielo presented its 25th Anniversary Gala Concert.
My blood sure boiled at this revival of the Met’s utterly punchable production of Macbeth.
The Philadelphia Orchestra’s opening night concert, for better or worse, was not a gala evening starring Plácido Domingo.
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
“Trove Thursday” remembers the company’s very first Lady Macbeth via Leonie Rysanek’s NYC debut in a concert performance of Verdi’s Shakespeare masterpiece less than a year before her first Met appearance.
It’s time for Plácido Domingo to man up and withdraw from the Met’s 2019-2020 season.
Riccardo Muti’s vision of Aida’s score largely emerged as one of subtlety, musicality, and restraint.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
“Trove Thursday” offers Die Frau ohne Schatten conducted by Georg Solti and also featuring Regina Resnik, Donald McIntyre and the inevitable James King.
“Trove Thursday” leaps to the end of the cycle with a slightly abridged Götterdämmerung featuring Amy Shuard as Brünnhilde.
Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
“Non mi dispiace” seemed to be the general consensus in the loggione December 7 when Verdi’s Attila came roaring into La Scala to open the 2018-19 season.
Mussorgsky’s Boris Godunov must be Russian’s most iconic opera and “Trove Thursday” presents it with Claudio Abbado leading an impressive team.
This new production of the 1847 original version of Verdi’s first stab at Shakespeare features the extraordinary performances of Luca Salsi and Anna Pirozzi as the Thane of Cawdor and his merry wife.
“Trove Thursday” gives a preview of Saint-Saëns’s Samson et Dalila with a broadcast featuring an unexpected temptress—Dolora Zajick—who will celebrate the 30th anniversary of her Met debut next month.
The theme was “Lyrics by Shakespeare.”
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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