Before stopping at Carnegie Hall this weekend, The English Concert returned to the Bay Area last week with a fiery performance of Giulio Cesare
Chris’s Cache celebrates Ewa Podles‘s long connection with Handel by featuring her in three complete, decidedly un-HIP operas spanning over twenty years
As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
Rodrigo is a ball-breaking role, but Lawrence Brownlee makes the demands sound easy—tossing in additional high notes and audaciously decorating cabalettas as if it were the easiest thing in the world.
Despite the diminishing returns of her vocal means, Edita Gruberova‘s last years of her career were if anything more successful than ever.
These are my findings and opinions (and I welcome rebuttals)!
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
Trove Thursday remembers Edita Gruberová with live recordings of two of the three operas I heard her perform at the Met: a 1985 Munich La Traviata with Neil Shicoff and Wolfgang Brendel conducted by Carlos Kleiber and an I Puritani from Vienna 1994 featuring two other artists who recently left us too soon: Marcello Giordani and Dmitri Hvorostovsky.
Lawrence Brownlee and Michael Spyres are two singers at the top of their game, as this concert showed, virtually peerless in music as punishing as it is pretty.
Live opera returns to Lincoln Center when Teatro Nuovo presents Il Barbiere di Siviglia on July 27 and 28.
Were Joan Sutherland and Marilyn Horne 20th century opera’s ultimate same-sex pairing?
As New Yorkers swelter in the Fahrenheit 90s. Trove Thursday escapes to wintry Vienna 1920s for Richard Strauss’s Intermezzo (in English) sumptuously conducted by Julius Rudel and starring the incomparable Elisabeth Söderström as the delicious, exasperating wife of Alan Titus.
Off-and-on since last fall my PPP (Personal Pandemic Project) has been assembling a chronology of the American Opera Society. For 19 years beginning in 1951 it presented a remarkable series of concert performances of works unperformed by either the Met or New York City Opera.
Trove Thursday begins February with two striking versions of Rossini’s Tancredi.
Produced at Carnegie Hall by Matthew Epstein in 1983 with June Anderson, Marilyn Horne, Samuel Ramey and Douglas Ahlstedt with Henry Lewis conducting.
Wagner must intrude at some point because he invented film music.
Many now have scads more time for listening so Trove Thursday will offer several epic operas during May beginning with Rossini’s Guillaume Tell (this week aka Guglielmo Tell) in a concert performance featuring Giuseppe Taddei in the title role and Teresa Zylis-Gara and Franco Bonisolli as the war-crossed lovers.
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.
Can a work with indisputably great music fail to add up to a successful opera? I puzzled over that Sunday during Teatro Nuovo’s essential concert staging of Rossini’s La Gazza Ladra at SUNY Purchase.
“Trove Thursday” turns to Jacopo Foroni’s rare 1849 historical melodrama Cristina, Regina di Svezia to commemorate the 330th anniversary tomorrow of that enigmatic monarch’s death.
Sunday’s “Rising Stars in Concert”, featuring the Ryan Opera Center ensemble and members of the Lyric Opera Orchestra, was a stirring and entertainingly musical afternoon.
We close 2018 with Le Comte Ory with an enviable nearly all-Italian cast of prime-time Rossini specialists: Mariella Devia, Cecila Bartoli, Ewa Podles, William Matteuzzi, Claudio Desderi and Pietro Spagnoli.
Washington Concert Opera on the occasion of Gounod’s 200th birthday presented the American premiere of his first opera, Sapho.
Like most directors of this opera this century, David Alden is keen to outline the helplessness of women in the face of 19th century patriarchy.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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