The Gran Teatre del Liceu has announced a new cast change for its production of “La Forza del Destino.” The company said that soprano Maria Agresta has withdrawn from her debut in the role of Donna Leonora in “La Forza del Destino’, as she does not yet feel ready to take it on. As a result, soprano Anna Pirozzi will {…}
(Photo credit: Javier del Real) And I’m back to report on the second cast for the Teatro Real de Madrid’s “Adriana Lecouvreur.” You can check my thoughts on Cast A here. The Italian soprano Maria Agresta performed the titular role, Adriana. Her voice has developed into a pure lyric soprano, as a result of incorporating heavy roles in later years. {…}
“Puccini: Love Affairs” is Sony Classical’s response to the marketing of the centenary of the Lucchese composer’s death. Sadly, instead of a complete opera recording, it is yet another compilation (in the fullest sense!) of familiar duets, and an aria from “Tosca” and “La Bohème” each. Jonas Kaufmann – its titular singer – represents the main selling point. The German {…}
Jonas Kaufmann has announced his new album entitled “Puccini: Love Affairs.” The new record will be released on Sept. 13 by Sony Classical and will feature several duets from the composer. In a statement, Kaufmann said, “For my latest album, I had the pleasure of collaborating with some of today’s leading sopranos to celebrate Puccini’s centenary year. What really appealed {…}
(Photo: ) Giuseppe Verdi’s “I vespri siciliani” recounts the story of a historical revolution: the uprising of the Sicilian people against their French rulers in 1282, leading to the liberation of the island from their occupation. The political narrative is intertwined with the personal lives of the main characters. Duchess Elena, whose brother was killed by the French, seeks vengeance {…}
The Teatro San Carlo announced its 2024-25 season. The season opens with Dvořák’s “Rusalka” in a new production by Dmitri Tcherniakov. Dan Ettinger conducts a cast that includes Asmik Grigorian, Adam Smith, Ekaterina Gubanova, Anita Rachvelishvili, and Gábor Bretz. Performance Dates: Nov. 20-Dec. 7, 2024 Verdi’s “Don Carlo” will be conducted by Henrik Nánási and will star Piero Pretti, Gabriele Viviani, Ildar {…}
The Teatro Regio di Torino has announced its 2024-25 season. “Manon” Renato Palumbo conducts Puccini’s “Manon Lescaut” with Arnaud Bernard directing. The cast will include Erika Grimaldi, Dinara Alieva, Andeka Gorrotxategui, Carlo Ventre, Carlo Lepore, and Alessandro Luongo. Performance Dates: Oct. 1-26, 2024 Massenet’s “Manon” wil star Ekaterina Bakanova, Martina Russomanno, Bjorn Burger Maxim Lisiin, Atalla Ayan, Andrei Danilov, Roberto {…}
The Gran Teatre del Liceu in Barcelona has announced its 2024-25 season. Opera Josep Pons conducts Shostakovich’s “Lady Macbeth of Mtsensk” with Alexei Botnarciuc, Daniel Kirch, Sara Jakubiak, Ángeles Blancas, and Pavel Černoch. Àlex Ollé conducts. Performance Date: Sept. 25-Oct. 7, 2024 Maria Agresta and Saioa Hernández star in Verdi’s “La Forza del Destino” with Artur Ruciński, Amartuvshin Enkhbat, Brian {…}
After leaving the premiere of La Fenice’s production of “Mefistofele,” I dried two little tears from my eyes and, in a burst of emotion, was possessed by one thought: how underrated Boito is. Usually relegated merely to the place of the fanciest of Verdi’s librettists, Boito was much more. His works extend from a few musical pieces to many (untranslated {…}
The Semperoper Dresden has announced its 2024-25 season. Premieres Arrigo Boito’s “Mefistofele” is conducted by Andrea Battistoni and directed by Eva-Maria Höckmayr. The production will star Krzysztof Bączyk, Bekhzod Davronov, Marjukka Tepponen, and Martina Gedeck. Performance Dates: Sept. 28-Oct. 24, 2024 Richard Strauss’s “Intermezzo” will be conducted by Patrick Hahn and directed by Axel Ranisch. The cast will include Maria {…}
Verdi’s “I Vespri Siciliani” was last on the stage in Naples back in 2011, featuring the original French version created by the composer for the Opera de Paris in 1855. This year, however, Teatro San Carlo is showcasing the Italian rendition, which is more commonly performed in Italy, without the ballet sequences. The narrative, crafted by Eugene Scribe’s libretto, revolves {…}