It’s hard to find the right voice for the Bel Canto repertoire. A great Bel Canto singer needs flexibility, bright high notes, immense breath control, and impeccable phrasing. And of course, a singer needs to have great command of expression, otherwise, the music can easily fall flat. Many singers attempt to put all this together, but few actually have the complete package, {…}
Toronto-based chamber opera company Against the Grain Theater has launched a new record label. I can’t think of better start to such a venture than this recording of Osvaldo Golijov’s song cycle, “Ayre.” The work captures some of the company’s central ideals: beauty, relevance, and innovation. This ravishing live recording by soprano Miriam Khalil and a top-notch group of soloists {…}
“Puccini in Love” surveys mostly well-known love duets from Puccini’s canon. Because the music will be familiar to opera aficionados, the album’s success or failure depends on whether the interpreters can make the familiar fresh. Mission accomplished. Marketing at Sony is betting on the love-story behind the album to sell the project, but its success has little to do {…}
“Giulio Cesare: A Baroque Hero” is the latest CD from the highly talented Italian countertenor Raffaele Pè, who over recent years has been building up a considerable international reputation as an interpreter of the baroque repertoire. This recording is a compilation of arias from 18th-century operas, written by a number of different composers, for the character of Giulio Cesare. Certainly, {…}
Throughout the years Edita Gruberova has been recognized as one of the leading Bel canto interpreters of her generation and in the opera world. Her interpretations are considered definitive versions and in the case of “Lucia di Lammermoor,” it is one of the quintessential interpretations of her generation. Throughout the years three commercial recordings have been released documenting her evolution in the {…}
During the 2015-16 season, the Teatro alla Scala revived Verdi’s rarely performed opera “Giovanna d’Arco.” The opera, while never a standard piece of the repertoire, had a slight resurgence thanks to Renata Tebaldi and Monserrat Caballe in the mid 1900s. Other performers like Anna Moffo, Katia Ricciarelli, and Mariella Devia recorded the opening aria “Sempre all’alba.” But it was still {…}
The Italian soprano Francesca Aspromonte has already attracted significant attention, within the field of Early Music, for her stunning performances on the opera stage and in the concert hall. With the release, earlier this month, of her first solo CD entitled “Prologue,” she takes the next step in cementing her already blossoming reputation. From opera’s very beginnings, and lasting around {…}
Three years ago when Sonya Yoncheva recorded her first album “Paris Mon Amour,” it was a triumph. It was an album filled with a variety of interesting repertoire and a voice with great color and flexibility. It captured a rising star that was on the path to stardom and gave an incredible vibrancy to each reading on the album. Fast {…}
Is it possible to create something risqué yet non-controversial at the same time? Something that tackles sexually-charged topics such as the LGBTQ community, dominatrices, couple swapping and the role of artificial intelligence in relationships? Can all of this be depicted in a way that isn’t preachy or pejorative in these polarizing times? Nobody probably asked themselves these questions but if {…}