It was a meaty program. But both singers had the chops for it.
On the 21st of this month Romanian soprano Virginia Zeani will celebrate her 95th birthday and Trove Thursday salutes her versatility with two markedly different 20th century works: Menotti’s The Consul and Mascagni’s Il Piccolo Marat, one of many collaborations with her husband Nicola Rossi-Lemeni.
Nathan Hull was an operatic Quixote who did not go it alone, but inspired bands of optimists, giving proper employment to the many worthy New Yorkers mad enough to study voice and pleasure rare elsewhere to those of us thrilled to take it in.
Sonya Yoncheva’s first-ever Princess Romazov was one of this summer’s casualties but Trove Thursday steps up with a rare 1960 in-house pirate of Giordano’s Fedora starring Renata Tebaldi, Giuseppe di Stefano and Tito Gobbi along with a pair of Tebaldi-di Stefano Puccini highlights from the early 1950s.
Such a sleek, polished finish is a testament to the incredible resources and experience at the Met’s disposal – to coordinate this livestream across two different continents so seamlessly and with such flair is very impressive indeed.
Trove Thursday completes its Prévost–trifecta with Puccini’s Manon Lescaut starring Sondra Radvanovsky and (pre-Met) Aleksandrs Antonenko conducted by Riccardo Chailly plus an added Radvanovsky-Puccini bonus: Suor Angelica.
Later this month Asmik Grigorian will star in Covent Garden’s new Jenufa, which Trove Thursday anticipates presenting the acclaimed Lithuanian soprano in a broadcast from 2014 of Tchaikovsky’s rare opera The Enchantress (Charodeyka).
The San Francisco Opera, perhaps incidentally, continued their exploration of operas based on literary works by mounting the revival of Giacomo Puccini’s first success, Manon Lescaut.
When soprano Yihan Duan started to sing her aria, you could feel an almost electric charge that something special was happening.
“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.
The Albanian soprano Ermonela Jaho is surely the reason that Covent Garden has made a commercial release of this “Live to Cinemas” relay from March of 2017.
“Trove Thursday” keeps the evil deeds going this All Saints’s Day with a vintage La Scala broadcast of Arrigo Boito’s only completed opera Mefistofele.
As opera’s reigning tenor-superstar, Jonas Kaufmann can pretty much do whatever he wants and a sizable adoring public will lap it up.
For opening night 2018, the Met offered the creaky but appealing biblical epic Samson et Dalila, presumably as a vehicle for Elina Garanca and Roberto Alagna.
“Trove Thursday” offers Così fan tutte with Pilar Lorengar, Josephine Veasey, Lucia Popp, Luigi Alva and Kieth Engen with Georg Solti conducting.
Nico Muhly has set himself the task of presenting Winston Graham’s elusive heroine Marnie on the operatic stage.
The tendency to rank—to create subjective lists of best or greatest, or to organize things in ascending or descending order—is a human compulsion.
Today’s offering is an electric performance of Verdi’s early potboiler Attila conducted by Giuseppe Sinopoli.
“Trove Thursday” celebrates the thrilling Finnish soprano Karita Matilla in the ultimate diva role.
“Trove Thursday” offers Gemma di Vergy with the lovely, largely now forgotten Adriana Maliponte in the title role.
W.C. Fields used to have a funny trope about in show business you should never work with children or animals. To that list should perhaps be added the soprano Anna Netrebko.
Blood-and-guts singing is the reason to see Nabucco at the Metropolitan Opera this season.
Anna Netrebko‘s Manon was deeply unforgettable for its wide scope, control, and incredible virtuosity.
>What does a great opera production do, and what does a bad production fail to do?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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