Suck it, Joseph Kerman: Puccini’s “Shabby Little Shocker” has outlived you and will probably bury us all.
Anna Pirozzi and Luca Salsi reunite in blazing form in Tosca at the Teatro San Carlo
Mexican soprano Gilda Cruz-Romo died on 28 June at the age of 85 and Chris’s Cache remembers her with live recordings of a frequent role and a rather rare one: a last-minute Met Tosca plus perhaps her only stab at the Cherubini Medea.
Joseph Caldwell produced this charming tale from a year spent in Italy on the Rome Prize from the American Academy of Arts and Letters.
West Bay Opera’s Otello punches well above its weight
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
Opera San José (OSJ) concluded its eclectic 41st Season with another first, Héctor Armienta’s Zorro, which received its Northern California premiere at the California Theatre on Friday, April 19th.
Matthew Travisano takes on Mimì’s Act III aria from La bohème — not that one, the other one — in the latest installment of the “Perspectives on an Aria” series
Before this weekend, I never thought I would want to leave an opera by Act I. The recent production of Puccini’s La bohème at the Lyric Opera of Chicago taught me that there’s a first time for everything.
The assumption is that singers, singing in their own language, will be more expressive and idiomatic. The reality is that it often seldom makes a difference.
John Yohalem reports from the New York Dramatic Voices performance of Act III of Die Walküre
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Christopher Corwin reviews Pablo Larraín‘s Maria
After an uneven gala performance of Tosca on Tuesday, I’m not sure what the Met means by “celebrating Puccini.”
With Boston Lyric Opera’s largest opera production of the season already well behind us, the one-off semi-staged gala performance of Aïda held on Sunday at Emerson College’s Colonial Theatre to support the company’s vast education and community engagement apparatus, was a particularly enticing entry on the Boston cultural calendar.
Happy was I to attend the Celebrity Opera Series presentation Saturday night at BroadStage, mere blocks from my humble abode in Santa Monica as Anglela Gheorghiu was making an eagerly awaited return for the first time since her debut here in 2013.
Patrick Mack on the iconic Ethan Mordden‘s career and his first book on opera in 30 years – and it appears that time has mostly stopped in the Mordden manse.
Lincoln Center is in full diva mode. Or at least that is what it seemed as I passed the line of posters outside Alice Tully Hall for the forthcoming Maria Callas biopic.
When the subject of New York City Opera comes up, you always hear the same query: “What happened to City Opera? Are they even performing these days??”
Love makes fools of us all – that seems to be the theme of this summer’s Glimmerglass Festival.
The outdoor recitals that the Metropolitan Opera presents in New York City Parks every summer are a wonderful way to showcase rising young stars and promising beginners from the Met’s Lindemann Program.
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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