Metropolitan Opera 2017-18 Review – Cavalleria Rusticana / Pagliacci: Roberto Alagna Triumphs With Two Incredible Divas

“Pagliacci” and “Cavalleria Rusticana” is one of the signature double bills in opera that show offs the many qualities of a leading tenor. Both parts are known for their demanding vocal challenges and in many cases are sung by two different tenors. However, in the Metropolitan Opera’s current revival of David McVicar’s production, Roberto Alagna triumphed in two of his best {…}

Aug 25, 2017

Weekend Preview – International (8/25-27): Krassimira Stoyanova and Juan Diego Flórez Star in ‘Lucrezia Borgia’

This weekend the Salzburg Festival, the Arena di Verona, and the Edinburgh Festival see their respective seasons come to an end. But before they end, there are still must see performances. Argentina At the Teatro Colón, Kurt Weill’s “Rise and Fall of The City of Mahagonny” gets its second and third performances with Iris Vermillion and Alejandra Malvino alternating the role of Leokadja. Austria The {…}

Jun 26, 2017

The Teatro Dell’Opera Di Roma Announces Starry 2017-18 Season

The Rome Opera has announced its 2017-18 season showcasing a number of new productions. New Productions The season opens on Dec. 6, 2017, with Berlioz’s “La Damnation de Faust.” Conducted by Daniele Gatti, the opera will get a new production by Damiano Michieletto, who recently directed a highly acclaimed “Il viaggio a Reims” for the company. The opera will star {…}

Jun 22, 2017

George Gagnidze Will Inaugurate The Arena di Verona 2017 Festival

Georgian baritone George Gagnidze will inaugurate the 2017 season of the Arena di Verona. Gagnidze will sing the title role in Verdi’s “Nabucco” on June 23 and 29 and on July 7, 2017 at the Roman amphitheater in a new production by Arnaud Bernard and under the musical direction of Daniel Oren. “I’m delighted to inaugurate the season of a prestigious festival {…}

Apr 2, 2017

Metropolitan Opera 2016-17 Review – Aida: Conductor Daniele Rustioni Dominates, Leads Riveting Cast In Memorable Performance

I preface this by stating that this review is for the performance on March 31, 2017. I would also like to recognize that this is just one, performance of a seven-performance run. In an ideal situation, I would attend every performance and write a detailed review of the overall work. As it stands, I can only go on my perspective of one performance. Despite being such a familiar opera, {…}