Joie de vivre
Erin Morley, Lawrence Brownlee, and Malcolm Martineau put on a jolly good show at the 92nd Street Y.
Erin Morley, Lawrence Brownlee, and Malcolm Martineau put on a jolly good show at the 92nd Street Y.
The English soprano, famed for her interpretations of twentieth-century composers like Strauss, Britten, and Poulenc, as well as Mozart and operetta, died yesterday only a few days after announcing that she had a terminal cancer.
An exciting cast digs their claws into a heady production of La Calisto at the Théâtre des Champs Elysées.
The air held a real charge that night in SF’s War Memorial Opera House.
This is one of those rare performances that makes you believe that everything Verdi was greater Way Back When.
Nothing prepared me for the Soviero experience
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
Grand Tier Grab Bag hearkens back to the days when Sondra Radvanovsky — who is singing no Verdi at all next season — seemed like the Verdi soprano of reference.
Parterre Box features the Met’s current Eugene Onegin, Iurii Samoilov, in a performance of Rossini ahead of a return to Pesaro this summer.
Nostalgic for bass month, Parterre Box offers excerpts from two young basses to watch: Giorgi Manoshvili and Patrick Guetti.
Rosa Feola, still scheduled for a run of performances as Violetta in New York this spring, is the subject of this week’s Grand Tier Grab Bag.
With Nixon, Klinghoffer, and Andris Nelsons on the mind, Parterre Box offers a recording of the Boston Symphony Orchestra’s recent John Adams outing.
American tenor Charles Castronovo performs a bit of Weber’s Der Freischütz ahead of the opportunity to hear Berlioz‘s take on the score at Carnegie Hall next week.
The Bronx Opera‘s Ariadnes auf Naxos is well worth the subway ride. Plus, two strong premieres at the Brooklyn Art Song Society.
A well-known Met Aïda with a starry cast from 1967 is TildyDiva’s Favorite Verdi Performance
Grand Tier Grab Bag hearkens back to the days when Sondra Radvanovsky — who is singing no Verdi at all next season — seemed like the Verdi soprano of reference.
My favorite Verdi performance is Claudio Abbado Don Carlo opening of the Scala.
The purely musical performance preserved here is thrilling, ratcheted to a higher intensity than the Deutsche Grammophon studio recording
I have very few opportunities to see real-life opera divas, but when Natalie Dessay chose to debut her first Traviata at Santa Fe, there was no way I was going to miss it.
The air held a real charge that night in SF’s War Memorial Opera House.
This is one of those rare performances that makes you believe that everything Verdi was greater Way Back When.
Nothing prepared me for the Soviero experience
A well-known Met Aïda with a starry cast from 1967 is TildyDiva’s Favorite Verdi Performance
My favorite Verdi performance is Claudio Abbado Don Carlo opening of the Scala.
To celebrate the 100th anniversary performances of Turandot at the Met starting next week, Patrick Dillon gives a listen to seven versions of “Signore, ascolta!” for Perspectives on an Aria.
Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
Victoria de los Ángeles has always been my Violetta of choice, a portrayal that never ceases to move me.
I feel that the best years of Maria Callas’s vocalità, when we hear such a unique freedom and generosity in her singing, were captured in her early recordings.
Before the screams of horror begin, it says ‘favorite’, not best.
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