A successful performance of Verdi’s “Il Trovatore” is relatively easy, according to Enrico Caruso. All that is needed are the four greatest singers in the world. And Caruso was not really joking as that is exactly what the second installment of Verdi’s middle-period trilogy truly requires. “Il Trovatore” first premiered on Jan. 19, 1853 and has been a major operatic {…}
First premiering on January 15, 1958, Samuel Barber’s “Vanessa” draws inspiration from Isak Dinesen’s novella “Seven Gothic Tales.” At its premiere, “Vanessa” was praised for being a grand opera penned by an American composer, though later critics, comparing it to more famous works, insist that the work is American only insofar as Barber himself was born in the country. The {…}
First premiering on January 14, 1900 at Rome’s Teatro Costanzi, “Tosca” is one of opera’s most popular works. Adapted from Victorien Sardou’s play, “La Tosca,” by Giacomo Puccini and librettist Luigi Illica, the opera has seen countless productions worldwide since its premiere. Sardou himself expressed displeasure for his most cherished work being handled by a composer whom he did not {…}
Donizetti wrote his fair share of comedies throughout his career. While “L’Elisir d’Amore” remains his most popular by far, there is something to be said about “Don Pasquale” being the finer of the two musically and dramatically. Premiering on Jan. 3, 1843 in Paris, the opera marks the end of the 19th century opera buffa tradition. The next major Italian {…}
After writing three largely unsuccessful operas in which he devoted his talents to imitating the German, Italian, and French styles, Richard Wagner finally found what made him tick with “Der Fliegende Holländer,” his fourth opera. The work debuted on Jan. 2, 1843, and represents a major shift for the composer toward what he would eventually realize in his greatest operas. {…}
“Maria Stuarda” is the second of Donizetti’s unofficial “Tudor Trilogy,” the drama focusing in on the rivalry between Mary Stuart and Anna Bolena’s daughter Elizabeth the first. Based on Schiller’s 1800 play, the libretto is the work of Giuseppe Bardari. The drama pits the two queens against one another, though the truth is that they never actually met in real {…}
The first performance of Monteverdi’s “L’Incoronazione di Poppea” is largely unknown, though the only recorded date is from Dec. 26, 1842. The opera, one of only three from Monteverdi that has survived in its complete form, is among the first to describe actual historical subjects instead of focusing just on mythological characters. The original manuscript does not survive the two {…}
“Anna Bolena” premiered on Dec. 26, 1830 and became the first of the Donizetti’s unofficial “Tudor Trilogy.” The opera was a major turning point for Donizetti as well, becoming one of the first operas to launch him to major acclaim in Italy. While the work was largely ignored for much of the early 20th century, the likes of Maria Callas {…}
“Lucrezia Borgia” may not belong to the “Tudor Trilogy” of Donizetti operas, but it is still among the most challenging operas for the lead soprano in the composer’s oeuvre. The work had its world premiere on Dec. 26, 1833 at La Scala and while it did well throughout the 19th century, it struggled to find an audience throughout the 20th {…}
Bellini’s “Norma,” which premiered on Dec. 26, 1831, is arguably one of the finest operas to come out of the bel canto repertoire. Many consider it Bellini’s finest dramatic work overall and it features one of the most challenging roles for a soprano. In fact, sopranos have often been defined by their interpretation of the opera. Written by Felice Romani, {…}
Premiering on December 24, 1871, at the Khedivial Opera House in Cairo, Egypt, Giuseppe Verdi’s “Aida” is one of opera’s best-loved and most enduring works. Verdi was commissioned by Isma’il Pasha, who was governor of Egypt, in celebration of the opening of Egypt’s Khedivial Opera House, although the premiere was delayed due to complications from the temporary capture of Paris {…}