Mezzo-soprano Dolora Zajick is synonymous with Verdi. She’s been the leading Azucena at the Metropolitan Opera house over the last few years, singing the role a whopping 58 times since her debut on October 8, 1988, also in that very role. In Verdi’s “Aida,” she has performed the role of Amneris 80 times at the house. Throw in 17 performances {…}
Hearing a famous opera star taking on a new role for the first time in his or her career is usually a fascinating experience. Having heard the singer grow in other repertoire and roles, there is always a tremendous sense of anticipation about hearing an artist take on a new challenge. On Tuesday, March 21, Barcelona audiences will get that {…}
When considered in the context of his entire oeuvre, Verdi’s “Attila” is far from a masterpiece. When propped up against his best work, this early work simply doesn’t hold up. In fact, prominent Verdi scholars, such as Julian Budden, have criticized the opera and called it “the heaviest and noisiest of the Risorgimento operas, blunt in style, daubed in thick garish {…}
On March 14, 1847, Giuseppe Verdi premiered his version of “Macbeth” to roaring disapproval. It would take another two decades to premiere an updated version of an opera he deemed among his finest accomplishments. While the changes are nowhere near as wild as those for “Don Carlo,” “Simon Boccanegra” or even “La Forza del Destino,” there are a few major {…}
“Simon Boccanegra” was one of Verdi’s most sublime operas and a prized creation for the composer. After suffering a brutal premiere back on March 12, 1857, the work was essentially left for dead, likely to never get a chance to firmly establish its place alongside many of Verdi’s other masterworks. But on March 24, 1881, the composer premiered another version {…}
Of all his operas, Verdi’s “Don Carlo” (or “Don Carlos), which had its world premiere on March 11, 1867, is often referred to as his most “Shakespearean.” For most people, this description comes down to one thing – tragically complex characters. That said, when they talk about “complex,” King Philip and Princess Eboli are perhaps the most talked about with Elisabetta {…}
It is arguably the most misogynistic piece in all of opera, its text essentially calls women “fickle” and “small-minded.” And yet everyone revels in its sumptuous melody that has become opera’s most iconic number. When Verdi first composed “La Donna e mobile” for his “Rigoletto,” which premiered on March 11, 1851, he hid it for tenor Raffaele Mirate because he {…}
On March 9, 1842, Verdi scored his first major success with his opera “Nabucco.” Two years later, on March 9, 1844, the composer scored another riveting success with the world premiere of his “Ernani.” While the respective journeys of these two works have diverged over the one-hundred plus years since their respective debuts (“Nabucco” is a cornerstone of the repertoire {…}
This weekend audiences in Munich will get a chance to experience the dynamic duo that is Jonas Kaufmann and Anja Harteros in Giordano’s “Andrea Chénier.” Kaufmann likely needs no introduction, the tenor arguably the most popular of his voice type in the entire universe. Harteros deserves equal praise, her dramatic soprano a superb instrument that is simply unmatched in the {…}
I preface this by stating that this review is for the performance on March 5, 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 {…}
This week the Teatro alla Scala will revive the 1990 Liliana Cavani production of Verdi’s “La Traviata.” The production returns after DmItri Tcherniakov’s 2013 staGing failed to please Scala audiences. This time the Cavani production will be sung by two leading sopranos. First Ailyn Pérez will bring her acclaimed Violetta to the theater. Perez has performed the role around the {…}