2 Video: First Look at Michael Mayer-Directed LA TRAVIATA at The Metropolitan Opera 3 Video: First Look at THE CRUCIBLE at Washington National Opera In April of 2010 the Metropolitan Opera mounted the ...
Giovanni Battista Tiepolo – Rinaldo ed il mago di Ascalona – Art Institute of Chicago. Public domain. In this week’s Opera Cheat Sheet, Houston Public Media’s St.John Flynn and Eric Skelly give their ...
It takes six tenors and one phenomenal soprano to perform Gioachino Rossini’s “Armida,” which helps explain why the Metropolitan Opera didn’t get around to mounting this glorious work for 193 years.
NEW YORKNEW YORK — It took 193 years for Rossini’s “Armida” to make it to the Metropolitan Opera but only nine months for its first revival. Soprano Renee Fleming and five of the six tenors who sang ...
Last Saturday I returned from my early errands to find a mid-morning message on the phone from my uncle, who by happy coincidence also lives in Ithaca, New York a few miles from my house.: “Lump Lump, ...
2 Review: JETTE PARKER ARTISTS: TALES OF LOVE AND LOSS, Royal Ballet And Opera "We are staging this highly challenging opera expressly for Renée Fleming, who has the extraordinarily rare artistic ...
It is standard operating procedure for a world-class opera company like the Metropolitan Opera to mount a sumptuous new production to showcase a world-class diva. Therefore, it's no surprise that this ...
Performances in N.Y.C. Advertisement Supported by Music Review By Anthony Tommasini Renée Fleming has always made very particular and personal choices of operatic roles. Over the years, the managers ...
Trying to find 'Rossini Armida' at home? Here’s where you can watch it, including streaming and cable services with rental, purchase, and subscription options, so you can find the right fit. In the US ...
A recurring phrase in Rossini’s Armida, about a sorceress and her ill-fated love for a Christian soldier during the Crusades, A recurring phrase in Rossini’s Armida, about a sorceress and her ...
Performances in N.Y.C. Advertisement Supported by By Matthew Gurewitsch SHOW-BUSINESS professionals tend to regard stage-struck academics with a certain distrust, but the industrious Mary Zimmerman ...