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American tenor Charles Castronovo performs a bit of Weber's Der Freischütz ahead of the opportunity to hear Berlioz's take on the score at Carnegie Hall next week.
Russell Thomas is many singers at once—and he aims to excel at them all. The Miami-born tenor, celebrated for his interpretations of Italian repertoire and, more recently, German w...
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
Back-to-back casts in the Metropolitan Opera's revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
Luminous Lucia Popp’s “Caro Nome” beams with Gilda’s youthful passion, displaying Popp’s signature bright, beautiful timbre and magnificent coloratura.
While studying Un ballo in maschera for my Vienna role debut next January, I came across this beautiful ‘Ecco l’orrido campo’ amazingly performed by Montserrat Caballé.
Tenor Dave Monaco chats with Graham Spicer about his journey to becoming one of today’s most sought-after Rossini and Mozart singers.
Rosa Ponselle is the singer who had it all.
Verdi’s Stiffelio goes Amish in Vienna, featuring a stellar Luciano Ganci in the title role.
The financial police have launched an investigation into... The post Jonas Kaufmann responds to Italian police probe appeared first on Slippedisc.
Bring on the drama, mama!
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...
My contribution this month honors the great Sherrill Milnes in his electrifying performance of Iago's credo (1979, Met).
Anthony Roth Costanzo took over Opera Philadelphia when it was “three weeks away from stopping payroll.” Now, it is rebounding with a surplus.
I was a huge fan of Anna Netrebko.
Nothing prepared me for the Soviero experience
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
I've looked to Sherrill Milnes many a time for insight and guidance whenever I've added a new Verdi role to my repertoire.
I feel that the best years of Maria Callas’s vocalità, when we hear such a unique freedom and generosity in her singing, were captured in her early recordings.
What a shaded and elegant delivery William Mattteuzzi brings to this lilting setting of D'Annunzio's "O falce di luna calante"!
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