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Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
Ryan Speedo Green has been previewing his take on Wotan, ruler of the gods, with Gustavo Dudamel and the Los Angeles Philharmonic.
Elisabeth Grümmer was, of course, very good at Wagnerian prayers, but she also shines in this Verdi prayer.
Dallas Symphony Orchestra/Luisi/Lindstrom/Delavan /Johansson(Delos)Captured live in concert performances, Fabio Luisi’s clear-sighted command and strong orchestral playing make thi...
The Bronx Opera's Ariadnes auf Naxos is well worth the subway ride. Plus, two strong premieres at the Brooklyn Art Song Society.
In this new version of The Flying Dutchman, Jack Furness melds the Deadliest Catch TV show with Wagner’s spirit of mythology. The post THE FLYING DUTCHMAN: WNO’s celebratory Wagner...
Eine Oper mit fünf Personen: Geht das? Sehr wohl, meint jedenfalls der Allround-Künstler Armin Diederichsen. Er kommt am 31. Mai mit dem Freischütz aufs Gut Knoop.
From Andreas Schager: You’ve been fighting dragons all... The post Hay fever fells Vienna Opera’s Dutchman appeared first on Slippedisc.
The air held a real charge that night in SF's War Memorial Opera House.
It’s 1942 and Strauss is writing like it’s... The post Richard Strauss: The wartime opera appeared first on Slippedisc.
Clémence de Grandval’s Mazeppa gets the superhero treatment in Dortmund.
"Du bist die ruh" was one of the first art songs I ever knew.
It feels like this production of The Flying Dutchman has been advertised for an eternity.
My favorite Verdi performance is the iconic 1960 RCA recording of Otello with Jon Vickers in the title role and the Rome Opera Orchestra and Chorus under the baton of the masterly...
The Met’s new Tristan und Isolde was a vocal triumph for Lise Davidsen and Michael Spyres, but Yuval Sharon’s staging only fitfully captured the essence of Wagner’s masterpiece.
While refined, Lisa della Casa sings "Four Last Songs" deeply alert to the text and with effortless vocalization that sounds fresh and spontaneous.
Stiffelio has always been the dark horse of early Verdi operas.
Frida Leider is a major Wagnerian soprano who does not sound like a Wagnerian soprano.
Tebaldi, at La scala, in one of her nights of glory, where the voice poured out effortlessly, singing with utter conviction, and no soprano ever appealed to God more fervently.
This is the cover image for Bavarian State... The post Munich bids you a warm operatic welcome appeared first on Slippedisc.
Here in Chicago, I've had many a shot at listening to Riccardo Muti as a Verdi conductor.
Luminous Lucia Popp’s “Caro Nome” beams with Gilda’s youthful passion, displaying Popp’s signature bright, beautiful timbre and magnificent coloratura.
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