On this day in 1997 Robert Carsen made his Met debut with a new production of Eugene Onegin.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
Weekends at Aura Bar on 53rd and Ninth are typically big money makers for the morons who run the place. Jonjon and Yoni.
The Eloquence label of Australia, the down under-arm of Decca and now by extension Deutsche Grammophon, seems to specialize in the re-release of “Auld Lang Syne” treats.
Last week, a pair of terrific recitals demonstrated what kind of intimate spell a dramatic singer can cast when left alone with a piano.
Even those of us who consider Guillaume Tell Rossini’s greatest opera understand why it has not been his most frequently staged.
“Trove Thursday” pays tribute to Dmitri Hrovostovsky with a broadcast of his final new role, Rubinstein’s The Demon.
The tendency to rank—to create subjective lists of best or greatest, or to organize things in ascending or descending order—is a human compulsion.
Arabella with Wolfgang Sawallisch conducting a prime-time 1980s Munich cast.
Endlessly extricating her from existing contracts then negotiating new ones must make being Sonya Yoncheva’s manager the hardest job in the music business.
Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better?
Mr. Fabiano proceeded to pour gasoline over the audience and toss a lit match into the crowd with his rendition of “Granada.”
Lyric Opera of Chicago concluded its 2016-17 season with a spellbinding and wonderfully sung production of Tchaikovsky’s familiar Eugene Onegin.
“Trove Thursday” presentsFerdinando Paër’s 1804 Leonora ossia L’Amore coniugale.
If you were in New York on July 7, 1975 chances are you were at the Met reveling in the visiting Bolshoi Opera’s Eugene Onegin.
“I will never sing the role again. It was frightful. We were a set of madwomen…There is nothing beyond Elektra. We have lived and reached the furthest boundaries in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing voices are lost. We have come to a full stop.”
Tenor Paul Appleby’s onstage persona is as American as apple crisp, and he possesses the untroubled confidence of a politician.
Without fail, all nine finalists had nice clear ringing voices. Whether they develop into great artists is another question.
I have found myself truly bewildered by some of the online reviews of the Glimmerglass production of Verdi’s Macbeth.
I’m a long-time fan of the Opera in English series funded by The Peter Moores Foundation that started, fittingly enough, with conductor Reginald Goodall’s performances of Wagner’s Ring cycle recorded live from the London Coliseum and released by EMI
Celebrating Simon Keenlyside, the most popular artist on your alte Jungfer’s Mixcloud Web site.
Imagine two tenors releasing French opera aria collections at the same time without duplicating a single track!
In response to repeated urging by La Cieca, Our Own Dawn Fatale has contributed a “to do” list for the benefit of Met management, assuming the company makes it out of this summer alive.
Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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