The rumored surge in popular demand for yet another opera blog having failed to materialize, a few words about what can be expected here may be in order. That word “critical,” I’d say, is the key. In my dictionary, the first definition of “criticism”  reads, “The act of making judgments; analysis of qualities and evaluations Continue reading…

Performances of two canonical mainstays, Puccini’s Madama Butterfly and Bizet’s Carmen, marked the closing weeks of the Metropolitan’s 2023-24 season. The Butterfly was a revival of the 2006-07  production that initiated Peter Gelb’s tenure as the company’s General Director. Anthony Minghella is given original “production by” billing, with sets designed by Michael Levine. Carolyn Choa is succeeded Continue reading…

First, a small correction. In describing some of the highlights of the 1956-57 Metropolitan Opera season (see Callas, Part One, 3/2/24) and relying on memory, I mistakenly named the bass Gottlob Frick among the prominent German artists imported for that season’s Ring cycles. But he did not arrive until the cycles of 1961-62. Kurt Böhme was the Continue reading…

Dear devotees: I am pleased to be able to announce that Marston Records’ 10-CD set devoted to the recordings of the great American baritone Lawrence Tibbett is at last ready for release, and that an hour-long program, heard on 435 NPR stations (link below) has been aired in connection with it. Since I contributed to Continue reading…

My review of the most frequently cited extrinsic factors in the early and pronounced decline of Maria Callas’ voice (see last week’s post) has left us uncertain as to what might or might not with any confidence be declared causative. But what about an intrinsic one? That is, might there be something inherent in the Continue reading…

Dear devotees, The post scheduled for today, March 9, will be published on Monday, March 11. With apologies for the delay, CLO