2014 was a year of lemons into lemonade.
Whenever opera-lovers are canvassed about what neglected operas they hunger to see revived, the resulting lists inevitably feature a goodly number of grand operas, those once wildly popular monstrosities–particularly by Meyerbeer–written primarily for Paris in the mid-19th century.
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
With much laying-on of fanfares and gift boxes our friends at Decca Classics have unleashed Luciano Pavarotti Edition 1: The First Decade on a weary and satiated public.
A great man has passed and our consolation is that so much of his art has been preserved for us on recordings.
Bel Canto at Caramoor is something that I’ve always wanted to attend but never have because … well because frankly I’m just too lazy during the summers, and I’m also a big baby about outdoor performances.
Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts.
Once upon a time, a man and a woman met. He could sing, she could sing. They fell in love, got married, and became a power couple to rival Billary.
Once again, beloveds, we approach the Milanese shrine that simultaneously attempted to cultivate and destroy the career of Maria Meneghini Callas.
Vanity project or not, these albums present a sensitive and talented artist showing off two little-seen sides of himself.
If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.
Giuseppe and I have always had a complicated relationship.
I’m happy to report that Rigoletto from the 30 DVD Tutto Verdi set from the Teatro Regio di Parma is a blockbuster
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The big news from Bel Canto at Caramoor’s presentation of Les Vêpres Siciliennes last Saturday is far from unexpected.
Of all of Verdi’s operas. Aida is the one I find least interesting dramatically.
Name a Verdi opera, based on a play by Voltaire, described in the immortal words of the composer as “Questo e proprio brutto.”
A Dutch-speaking parterrian has graciously translated the interview with Piotr Beczala that’s been causing such a foofaraw lately.
Cecilia Bartoli and Joyce DiDonato are not the only ladies who have recorded recitals this year featuring music from the 17th and 18th centuries.
Rule Britannia? Often during the Olympics that famous number from Thomas Arne’s 1740 Alfred echoed in my ears.
Here’s the thing about puns, Betsy: summer going to enjoy them and summer not.
On this Gay Pride weekend, I remember my late friend Robert Chesley, activist and playwright (Stray Dog Story), who had also been an elementary schoolteacher.
One of my adolescent pastimes was trolling the classical cut-out bins in record stores searching for overlooked gems or unfamiliar singers.
Deutsche Grammophon has just released Anna Netrebko: Live at the Metropolitan Opera, a CD with 11 excerpts recorded live from her Met performances from 2002 through 2010. Released to feature the soprano just prior to her opening in the Met’s Anna Bolena, the CD features Netrebko singing solo arias as well as duets with such…
Sony Classical, in association with The Metropolitan Opera, has begun issuing on CD a number of historic Met broadcasts, newly remastered. The first I received for review was the December 10, 1955 broadcast of Verdi’s Un ballo in maschera, perhaps most notable for the Ulrica of Marian Anderson, who earlier that year made her debut…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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