Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
While Luciano Pavarotti may have brought opera to the people, once he realized how lucrative it could be, there was a string of promoters who helped him turn all that adoration into cold hard cash.
Tosca, as it exists now, can’t be real, spontaneous drama-it’s just Camp.
I’d like to create a pasta dish in honor of Ambrogio Maestri’s art.
Saturday night, Lyric Opera of Chicago gave us a wonderful evening of vocalism in honoring Renée Fleming’s 25th anniversary at Lyric.
Soprano Iulia Isaev proved to be in just about every way a lovely Tosca.
At tonight’s performance of Aida at the Met, the Triumphal Scene horses suddenly panicked and tried to bolt from the stage. I can’t say I blame them.
Use bodily force and get your friends to one of the next five performances of the Met’s new production of Adriana Lecouvreur. It is everything!
L’Arlesiana in a vibrant live performance from a dozen years ago with Giuseppe Filianoti, Latonia Moore and Marianne Cornetti.
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
In the Academy of Vocal Arts’s (AVA) clever pairing of two Puccini works, there was every reason to expect the fix was in.
“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.
Sondra Radvanovsky changed my opinion of her through a single performance—I’ll never think of her the same way again; the power of her singing overwhelmed my previous impressions.
How do we celebrate a long career in opera, particularly one as illustrious as Plácido Domingo‘s?
As opera’s reigning tenor-superstar, Jonas Kaufmann can pretty much do whatever he wants and a sizable adoring public will lap it up.
For this revisiting of Tosca, San Francisco Opera decided to highlight the glamorous lifestyle of the Italian soprano Carmen Giannattasio.
Puccini’s Girl closes out the 20th century and gallops into the 21st.
Orfeo’s latest edition is a 1978 performance of Lucia di Lammermoor with a very estimable cast that on its surface may seem a tad mundane but the extensive liner notes (with performance photos) tell the story of why it held such magic.
On the occasion of the hundredth anniversary of your birth, I am perplexed as to what to write about you that isn’t of the highest, most ecstatic praise and of deliriously effusive encomiums.
Though orchestrally lavish, this “semi-staging” delivers less theater than no staging at all.
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
A heady audience paid top price to pack Carnegie Hall Thursday for just 80 minutes of unstaged Wagner.
Munich’s Bayerische Staatsoper’s victory lap at Carnegie Hall concluded Thursday night with a sumptuous Der Rosenkavalier spectacularly conducted by Kirill Petrenko
>Verdi’s marvelous yet neglected Luisa Miller finally returns to the Met later this month after an absence of a dozen years so “Trove Thursday” provides a preview.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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