When it comes to simple beauty of voice and legato, Joan Sutherland tops most people’s lists. “La Stupenda,” as she came to be known, was born on Nov. 7, 1926 in Australia and learned singing from her mother, a mezzo-soprano. Sutherland made her concert debut in 1947 in a performance of “Dido and Aeneas” before making her stage debut in {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features James Gunn’s “Guardians {…}
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 {…}
OperaVision will start streaming Donizetti’s “Lucia di Lammermoor” from the Teatro Real starting on July 7, 2018. The Donizetti masterpiece will feature Lisette Oropesa as the famed heroine with Javier Camarena as her lover Edgardo. Artur Rucinski stars as Enrico with Roberto Tagliavini as Raimondo. Daniel Oren conducts. The stream kicks off at 7 p.m. local time. That’s around 2 {…}
“Lucia di Lammermoor” is a role known for its high-flying coloratura, its expansive and dramatic scenes and, of course, the mad scene. In order for a Lucia to work, there must be a soprano who can handle all the challenges and a supporting cast that can work around her. There must be a soprano who cannot only conquer the virtuoso {…}
“Lucia di Lammermoor” is one of the important canonical works and most divas are measured by their abilities to manage the great challenges of this bel canto opera. One of the foremost performers of the opera today is Australian soprano Jessica Pratt, who has sung the work in over 20 productions and 80 performances with such companies as Teatro alla {…}
There is a perception that if you don’t sing an E flat at the end of the mad scene in “Lucia di Lammermoor,” you don’t have the voice for Donizetti’s virtuoso singing. But this is a false tradition that has been implanted in opera lover’s minds for too long. I once witnessed an important diva who sang a performance of Lucia {…}
“Lucia di Lammermoor “ is, in many ways, the DIVA opera. You have a title role for soprano filled with a ton of duets (one with each of the main male leads), and at the climax of it all, opera’s most famous mad scene. And that’s without mentioning her other aria and the sextet that she dominates. It’s a daunting {…}
It’s officially the month of March Madness and to celebrate the month which will see “Elektra” and “Lucia di Lammermoor” open at the Metropolitan Opera, OperaWire will be writing a weekly article on our favorite mad scenes, favorite interpretations of mad scenes and some of the most iconic performances of mad scenes. Lucia di Lammermoor-“Il Dolce Suono” Donizetti’s mad scene {…}
It’s Valentine’s Day, the day to cherish a significant other. Last year we took a cynical look at the holiday, but not this year. Opera is rife with love, almost every single plot in every single work has some communion of two persons in that blissful word. In fact, love in opera has incited just as many battles and tension {…}
Amelita Galli-Curci, born on Nov. 18, 1882, was one of the greatest singers of her era and continues to be revered as one of the finest of all time. And it isn’t hard to see why. Her technique was impeccable and to this day she remains one of the shining examples of exquisite vocal phrasing and overall polish. Just pop {…}