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 {…}
“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 Martin Scorcese’s “The {…}
Soprano Lisette Oropesa is one of the most exciting artists in the world. At just 34, the New Orleans native has already had a storied career, winning the Metropolitan Opera National Council Auditions at the age of 22, rising through the ranks of the Met Lindemann Young Artist Program, and then going on to sing at all the major houses {…}
“Lucia di Lammermoor” is one of opera’s undisputed staples. The Royal Opera House, Covent Garden will be bringing back the work on Oct. 30, 2017, for an eight-performance run starring the great American soprano Lisette Oropesa in Katie Mitchell’s sexy and bloody production. When one thinks of “Lucia” at the Royal Opera House, it is impossible to disassociate the opera {…}
On Nov. 25, 2017, the Hungarian State Opera kicks off its tenth tour around Japan. For a whole month, audiences at 20 different venues will be able to experience two full-scale productions given by the company, featuring internationally acclaimed soloists Edita Gruberová, Erika Miklósa and Andrea Rost. The final part of the tour will offer orchestra concerts with an appearance by pianist {…}
“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 Luc Besson’s “The {…}
A week after superstar tenor Jonas Kaufmann released his latest album, the other major stars of the opera world will unveil their latest recordings. It’s a big week with too many incredible choices. Here we go. Mozart Juan Diego Flórez’s first album fully dedicated to Mozart is conducted by Riccardo Minasi and features music from “Idomeneo,” “Die Zauberflöte,” “Don Giovanni,” {…}