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[lightweight-accordion title="Show answer" title_background="#efefef" bordered=true]Puccini.[/lightweight-accordion]
Ópera: "Turandot", a obra inacabada de Giacomo Puccini regressa, em abril, com todo o esplendor, ao palco do Scala de Milão, sob a batuta de Nicola Luisotti.
“Vesti la giubba” (“Put on the costume”) is a famous tenor aria performed as part of the opera Pagliacci by Ruggero Leoncavallo. It is sung at the end of the first act, when Canio...
Back-to-back casts in the Metropolitan Opera's revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
"Soprano Vida Miknevičiūtė will make her company debut singing the role of Minnie in the new production of Puccini’s La Fanciulla del West, replacing Sondra Radvanovsky, who...
Luminous Lucia Popp’s “Caro Nome” beams with Gilda’s youthful passion, displaying Popp’s signature bright, beautiful timbre and magnificent coloratura.
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra's performances of Puccini's triple-bill.
Rosa Ponselle is the singer who had it all.
To celebrate the 100th anniversary performances of Turandot at the Met starting next week, Patrick Dillon gives a listen to seven versions of "Signore, ascolta!" for Perspectives o...
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Opera San José's La Traviata has all the buzz and energy of a world premiere.
Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa's bold production at the Lyric Opera of Chicago.
Victoria de los Ángeles has always been my Violetta of choice, a portrayal that never ceases to move me.
I was a huge fan of Anna Netrebko.
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.
Nothing prepared me for the Soviero experience
A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear "Kuda, kuda" twice in two days.
While refined, Lisa della Casa sings "Four Last Songs" deeply alert to the text and with effortless vocalization that sounds fresh and spontaneous.
The air held a real charge that night in SF's War Memorial Opera House.
With ambition that exceeded its grasp, the orchestra performed Puccini’s “Il Trittico” ahead of the center’s expected closure.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
This is the beautiful soprano solo from Fauré's Requiem, Op. 48. The seven movements of the French composer's setting of the Mass for the Dead form an arch whose keystone and crown...
With its screams, sex, bells and bloodshed Puccini’s opera was initially derided as a noisy disaster. Ahead of Glyndebourne’s first ever production, we look the ‘shabby little shoc...
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