Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.
Washington National Opera’s final production of the season, seen May 22, is also its high point: a new Turandot directed by Francesca Zambello, updated to the 20th century and featuring the world premiere of a completion of Puccini’s score by composer Christopher Tin and playwright and screenwriter Susan Soon He Stanton.
In the lead up to LA Opera’s mounting of Turandot on May 18th (hooray!) I thought I’d touch on some of my favorite recordings and new re-masters I’ve discovered. I have them all.
On this day in 1975 soprano Magda Olivero made her historic, belated Metropolitan Opera debut as Tosca
Maria Callas’s official debut in opera was as La Gioconda in 1947 at the arena in Verona.
Amilcare Ponchielli’s La Gioconda might not be a perfect opera (though I don’t see why not) but it is one of my favorites…
The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
parterre box is excited to present again Mike Richter’s collection of recordings of Rose Ader along with this biographical tribute in honor of a significant artist whose Jewish identity perhaps prevented her from achieving the renown she deserved
Nothing says “diva” like an insane recital program.
Perhaps the greatest souvenir of her art there is.
I hate to say I nearly cringe at the thought of Gioachino Rossini’s Il Barbiere di Siviglia.
Power struggles, prejudice, feuds and revenge abound in San Francisco at the moment.
When our friends at Naxos and C Major announced near-dueling releases of Puccini’s “shabby little shocker,” I was ready with my critic’s pen dipped in bile.
Chris’s Cache offers up a quintet of intriguing “forgotten” Leonora-Azucena pairings from the 1970s.
Before rehearsals for Madama Butterfly started, Phil Chan sat down with the box to chat about his production, opera’s cultural appropriation problem, and why the last thing he’s trying to do is cancel Puccini.
This week Chris’s Cache features Maria Chiara, Elena Mauti-Nunziata, Rita Orlandi-Malaspina and Orianna Santunione in L’Amico Fritz, Mefistofele, Simon Boccanegra and La Fanciulla del West, respectively.
On June 16, San Francisco Opera concluded their excellent Centennial Season with a heartfelt 100th Anniversary Concert, featuring a starry cast, three conductors (including current and former Music Directors) and the SF Opera Orchestra and Chorus.
The wicked poisoner showed herself in fine form, full of purple passion and lusty music-making that would gladden the heart of any bel canto enthusiast or opera lover in general.
Old opera productions at the end of their performing life can be sad affairs.
On this day in 1944, the Metropolitan Opera, on tour in Chicago, presented Tosca.
On this day in 1975 soprano Magda Olivero made her Metropolitan Opera debut as Tosca.
This was by far my most satisfying experience with Pelléas et Mélisande for a multitude of reasons and I encourage anyone who’s even mildly curious to find their way to the Music Center for a very rich experience.
Angel Blue‘s refulgent, lush soprano blooms as Violetta’s vocal lines broaden and soar.
For me, Fedora is the perfect opera
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.