“Once upon a time / Lived a foolish king. / Mocking Death, his crime, / Pure chaos he bring.”
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.
Mascagni’s Cavalleria Rusticana has always been a particular favorite, although I’ve only seen it staged once (and that by an amateur company the details of which I share spare you all, save to note that dinner was served during the performance.)
It’s Easter season, and that can mean only one thing for opera: It’s Cavalleria Rusticana time. And I, for one, couldn’t be more excited.
VIctor Herbert demonstrates in this slight, affectionate piece a talent for keeping his musico-dramatic balls in the air, as Madeleine’s spirits juggle, fall, rise again, and droop to elegant resignation at the last.
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.
“Trove Thursday” presents Purcell’s remarkably concise Dido and Aeneas in a pair of fascinatingly different interpretations.
“Trove Thursday” escapes to an exotic place with Rimsky-Korsakov’s Sadko.
“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.
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.
San Francisco Opera opened their 2018-19 Season Friday with a double bill of Italian verismo operas, Cavalleria rusticana and Pagliacci, which made a welcome return to War Memorial Opera House after 15 years.
How did you first grow interested in singing?
Headlining the Met’s current revival of both Cavalleria Rusticana and Pagliacci, Roberto Alagna was operating on all cylinders Monday evening.
The second DVD/Blu-ray with Plácido Domingo as Verdi’s other beleaguered Doge, Francesco in I due Foscari.
When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
You may wonder what Rachmaninoff’s Aleko and Leoncavallo’s Pagliacci have in common.
Sometimes when you find the club that will have you as a member, you do not easily give up your spot.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Sir Richard Eyre’s new Manon Lescaut at the Met Friday night demonstrated no particular aptitude for opera.
With February 14th falling on a Sunday, there will be no Valentine’s Day Met performance this year.
A “lone voice in the wilderness” booed Barbara Frittoli’s calamitous Nedda.
Maria Agresta‘s delicately-acted, sumptuously-sung seamstress transformed what might have been just an average Wednesday night revival into something finer.
Enthusiasm is contagious–you have to cover up carefully lest it make you sick.
Bare Opera, the feisty little company that gave Debussy’s exquisite L’Enfant Prodigue in Chelsea last spring, is now operating in chic, rundown Bushwick where so many original enterprises sprout.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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