#maria guleghina

[animatealaopera]

Teatro Colon: Roberto Oswald’s production of the famous Puccini´s opera “Turandot”. Amazing production, cast, conduction and chorous. With María Guleghina, Verónica Cangemi, Kristian Benedikt, James Morris, Raúl Giménez, Alfonso Mujica, Carlos Ullán, Santiago Martínez and Alejandro Meerapfel. Conducted by Christian Badea and directed by Matías Cambiasso.

Pictures by Máximo Parpagnoli

And here you have the recording of the production OwO

[valinaraii]

Leading ladies on Verdi’s operas, 4/?

ABIGAILLE and Anch’io dischiuso un giorno… Salgo già del trono aurato.

Who’s she: Apparently a princess, actually a slave... who seizes the throne.

In love with: Ismaele (unrequited) and power.

Cause of death: Poisoning herself

Appears in: Nabucco (1842)

Anch’io dischiusso un giorno

ebbe alla gioia il core;

tutto parlarmi intorno

udia di santo amore;

piangeva all’altrui pianto,

soffriva degli altri al duol;

ah! chi del perduto incanto

mi torna un giorno sol?

(I, too, once opened my heart to joy; all around me I heard tell of holy love; I wept at other’s tears, I suffered at others’ grief Ah! who will restore me one single day of that lost enchantment?)

The opera has a double focus: on the collective resistance of the Israelites, led by their High Priest Zaccaria, and on the relations between Nabucco and his two daughters, the illegitimate Abigaille and the legitimate Fenena, who is in love with Ismaele, an Israelite prince, and has been converted to the Jewish religion. Verdi finds it almost impossible to give us outright villains as black as Pizarro in Fidelio, or Gesler in Tell. Here, the two most flamboyantly wicked characters are the most fully drawn individuals, and have the largest individual parts (...). Abigaille is a splendid figure: cruel and vengeful certainly, but her motivation is interestingly depicted. Her resentment is like that of Edmund, the illegitimate son of Gloucester in King Lear. Her discovery that she is actually the daughter of slaves, not of the King, only fuels her anger and ambition; in her long duet with her father in Act Three, she harps constantly on the fact that she, a slave, now reigns as queen over her royal sister and father. She exemplifies the malevolent passion nourished by a society in which birth and rank are the absolute arbiters of power and success.

Anthony Arblaster: Viva la libertà! Politics in Opera, pp. 97-98

Maria Guleghina as Abigaille (the scene lacks the initial recitative). I would like to add that this is one of my favorite moments in an opera that doesn’t lack emotion (Va pensiero, I’m looking at you). Especially in the first part, when Abigaille, for the first and last time in the four acts is completely alone and allows herself to yearn for more innocent times. She’s really a great character.

[mariacallous]

belated Metropolitan Opera stream listings for this week

Hi, sorry I didn't send these earlier. I guess you'd know where to look them up, I just thought you might be busy & like a reminder.

This week the Met Opera is featuring "Verismo Passions"/ Italian operatic dramas. https://www.metopera.org/user-information/nightly-met-opera-streams/week-52/ 

The links for Thurs night seem like they're still working, but I don't know how long they'll be up. Zandonai's Francesca da Ramini, filmed in 2013. It's a vintage production (previously filmed with Renata Scotto as Francesca) with some lovely Art Nouveau-inspired costumes & very pretty sets, too. (The women's costumes, at least. Sometimes the men wear cartoonish spiky armor, & there's a villain with an eyepatch.) It's about Paolo & Francesca from Dante's Inferno. https://www.metopera.org/season/on-demand/opera/?upc=811357016275  (or) https://metoperafree.brightcove-services.com/?videoId=6234694743001

Fri night til 6:30 pm ET Sat - Giordano's Fedora (1997), featuring Mirella Freni & Placido Domingo. I hadn't heard of this one before, but apparently it's about a Russian princess.  https://www.metopera.org/season/on-demand/opera/?upc=811357011256 (or) https://metoperafree.brightcove-services.com/?videoId=6234694747001

Sat - Giordano's Andrea Chenier (1996), with Maria Guleghina, Stephanie Blythe, & Luciano Pavarotti

Sun - Puccini's Tosca (2018), with Sonya Yoncheva, Vittorio Grigolo, & Zeljko Lucic (I've seen this one before & the sets are stunning!)

[ifreakingloveroyals]

Through the Years → Maria Teresa, Grand Duchess of Luxembourg (283/∞)

15 October 2015 | Maria Guleghina, Crown Princess Victoria of Sweden, Grand Duchess Maria Teresa of Luxembourg, Sir Philip Craven, Prince Albert II of Monaco and other guests attend the 5th honorary board of the International Paralympic Commitee in Luxembourg, Luxembourg. (Photo by Andreas Rentz/Getty Images)

[rudyroth79]

Știri: Opera Națională București prezintă „Turandot” și „Opus 73 (Iubire nesfârșită)”  în cadrul Serilor de Operă Online (11, 14 mai 2020)

Știri: Opera Națională București prezintă „Turandot” și „Opus 73 (Iubire nesfârșită)”  în cadrul Serilor de Operă Online (11, 14 mai 2020)

Opera Națională București transmite în cadrul Serilor de Operă Online spectacolele Turandot” de Giacomo Puccini și Opus 73 (Iubire nesfârșită)  de Ludwig van Beethoven.

Luni, 11 mai 2020, ora 18.30 veți putea urmări înregistrarea spectacolului Turandot de Giacomo Puccini, în regia lui Mario De Carlo, eveniment din 13 februarie 2020.

Joi, 14 mai 2020, ora 18.30 vom difuza spectacolul de balet Opu…

[laterradihayk]

L’agenzia AMO, rappresentante di Ruzan Mantashyan, risponde al comunicato stampa del teatro

– In seguito alle polemiche ed alle indignazioni sorte dopo l’esclusione della soprano armena Ruzan Mantashyan dall’evento organizzato a Dresda, il Sempre Opera Ball, per una presunta minaccia avanzata dal tenore azero Yusif Eyvazov di abbandonare l’evento a causa della nazionalità della partner, una serie di comunicati sono stati rilasciati per tentare di stemperare il clima teso venutosi a creare.

Già il 14 gennaio scorso, il teatro ha diramato un comunicato per allontanare le accuse di aver ceduto prima al diniego di Eyvazov di partecipare all’evento, ed in seguito alle pretese del tenore azero di licenziare dal Sempre Opera Ball la cantante armena (contattata in precedenza) a causa della sua nazionalità. Il comunicato, suo malgrado, non è riuscito a placare le polemiche, in quanto non ha fornito nessuna spiegazione dell’allontanamento della Mantashyan, limitandosi non solo a rigettare le accuse rivolte verso Eyvazov, ma anche difendendone l’integrità morale, in quanto cantante cosmopolita.

Il comunicato è stato quindi ripreso dalla pagina ufficiale di Instagram del tenore, aggiungendo di aver già lavorato con altri cantanti armeni, come Maria Guleghina e Gevorg Akopyan, ed inoltre di tenere le sue opinioni politiche lontano dalle scene (tra l’altro, nei commenti al post, anche ridicolizzando la cantante insinuando di cercare solo notorietà).

View this post on Instagram

SemperOperaball firmly rejects accusation against Yusif Eyvazov The organisers of SemperOperaball firmly reject the accusation that the singer Ruzan Mantashyan will not perform at the 15th SemperOperaball on 7 February 2020 due to her nationality. Prior to this, it had been alleged that the Azerbaijani tenor Yusif Eyvazov, who will sing at the gala in Dresden's Semper Opera House, had refused to appear at SemperOperaball together with the Armenian artist on the grounds of her nationality. The artistic director of SemperOperaball, Hans-Joachim Frey, however, strongly condemned the accusation as an insinuation. At no time had there been a contract with Ruzan Mantashyan for a performance at SemperOperaball on 7 February 2020. Nor did Yusif Eyvazov ever make the collaboration with a fellow singer dependent on her origin. However, it is now assumed that there may have been misunderstandings in communication with Ms Mantashyan’s agencies. "The appeal of SemperOperaball lies precisely in the fact that for many years now its programme has featured artists in a wide variety of constellations from the most diverse countries of origin, including Armenia," said Hans-Joachim Frey, adding that “the ball is known for its cosmopolitanism. Statements of a different kind are not true. Yusif Eyvazov is held in high esteem, especially as a cosmopolitan artist and honest man.” P.S.: Dear All, as an Azerbaijani, I have a strong view on the political situation between Armenia and Azerbaijan. But my political opinion has never and will never influence my work on stage. I have worked with Armenian colleagues like Maria Guleghina and Gevorg Akopyan and others . So, please – don’t change the facts and don’t believe those who do!STOP PROVOCATION!!

A post shared by Yusif Eyvazov Tenor Official (@yusif_eyvazov_official) on Jan 13, 2020 at 11:27am PST

Nella giornata di ieri (15 gennaio) è arrivata anche la risposta, sul proprio profilo ufficiale IG, da parte dell’agenzia rappresentante di Ruzan, l’Agence Massis Opera:

Per confermare i fatti e porre fine a questa aspra controversia. Il “malinteso”, cui si fa riferimento nel comunicato stampa, vorrebbe attribuire la responsabilità di questo “conflitto” ad Agence Massis Opéra. In realtà, sembrerebbe invece collegarsi alle relazioni tra i vari collaboratori di questa Associazione, diretta dal Dr. Hans-Joachim Frey. Infatti, dopo un primo contatto scritto nel settembre 2019 che ci chiedeva la disponibilità di Miss Mantashyan per la data del concerto, gli scambi scritti continuavano, senza alcun problema particolare, a trattare i vari elementi usuali di una negoziazione – dettagli di contatto, programma , condizioni finanziarie, domanda di visto, ecc … Dopo circa 15 scambi di e-mail, l’accordo sembrava completo. Quindi c’era la volontà del Semper Opernball di assumere Ruzan Mantashyan per il concerto del 7 febbraio. Inoltre la sua partecipazione è stata annunciata dalla stampa (Wirtschaft a Sachsen il 27.12.2019). Il 10 gennaio 2020, abbiamo ricevuto un ultimo messaggio scritto che annunciava la cancellazione della partecipazione di Ruzan Mantashyan, perché il signor Yusif Eyvazov non desiderava esibirsi con lei per i motivi menzionati nel nostro primo comunicato stampa. Ciò potrebbe aver creato una situazione molto inquieta per gli organizzatori, ma non abbiamo alcuna forma di responsabilità nell’evoluzione di questa situazione, che sta penalizzando la nostro artista. Non dubitiamo della rispettabilità di SemperOpernball e della sua apertura generale nei confronti degli artisti di tutte le nazioni e culture.

View this post on Instagram

IN RESPONSE TO THE PRESS RELEASE FROM SEMPER OPERNBALL AND THE REBUTTALS FROM MR. YUSIF EYVAZOV : ••• To confirm the facts and put an end to this bitter controversy. . The "misunderstanding," which is alluded to in the press release, would like to attribute responsibility for this "conflict" to Agence Massis Opéra. . In reality, it would seem instead to relate to the relations between the various collaborators of this Association, directed by Dr. Hans-Joachim Frey. . Indeed, after a first written contact in September 2019 asking us for the availability of Miss Mantashyan for the date of the concert, the written exchanges continued, without any particular problem, to deal with the various usual elements of a negotiation – contact details, program, financial conditions, visa application, etc… After about 15 email-exchanges, the file seemed complete. . So there was a willingness on the part of the Semper Opernball to hire Ruzan Mantashyan for the concert on February 7. . Moreover her participation has been announced by the press (Wirtschaft in Sachsen on 27.12.2019). . On January 10, 2020, we received a last written message announcing the cancellation of Ruzan Mantashyan's participation, because Mr. Yusif Eyvazov did not wish to perform with her for the reasons mentioned in our first press release. . This may have created a very uneasy situation for the organizers, but we have no form of responsibility in the evolution of this situation, which is penalizing for our artist. . We do not doubt the SemperOpernball's respectability and its general openness towards artists of all nations and cultures.

A post shared by Agence Massis Opéra (@agencemassisopera) on Jan 14, 2020 at 2:42pm PST

Ruzan Mantashyan interpreta Fiordiligi in Così fan tutte (Foto 1)

Mantashyan – Margherita – Faust

Ruzan Mantashyan interpreta Fiordiligi in Così fan tutte (Foto 2)

Caso Eyvazov-Mantashyan: l’agenzia della cantante armena risponde L'agenzia AMO, rappresentante di Ruzan Mantashyan, risponde al comunicato stampa del teatro - In seguito alle…

[todayclassical]

August 09 in Music History

1703 J.S. Bach takes the position of organist at Neuekirche in Arnstadt.

1718 Birth of composer Placidus Cajetan von Camerloher. 

1781 Birth of Austrian violinist, conductor and composer Michael Umlauff.

1826 Birth of Italian soprano Adelaide Borghi-Mamo in Bologna.

1834 Birth of composer Elias Alvares Lobo.

1853 Birth of Russian soprano Emiliya Karlovna Pavlovskaya.

1858 Birth of English opera composer Isidor De Lara in London.

1861 Birth of composer Wilhelm Berger.

1861 Death of English organist Vincent Novello in Nice. 

1862 FP of Hector Berlioz' opera Beatrice and Benedict, Berlioz conducting at the Neues Theater in Baden-Baden. 

1874 Birth of Venezuelan-French composer, conductor, Reynaldo Hahn in Caracas.

1875 Birth of English composer Albert William Ketelbey in Birmingham. 

1875 Birth of Italian opera composer Primo Ricciarelli in Campli.

1882 Birth of Italian tenor Manfredo Polverosi, in Florence. 

1890 Birth of composer Cesar Cortinas.

1890 Birth of Hungarian composer Sandor Alexander Jeminitz in Budapest.  1891 Birth of Dutch violinist and radio host, Max Tak.

1902 Birth of French violinist Zino Francescatti in Marseilles.  1902 Birth of English pianist Solomon Cutner. 1914 Birth of Hungarian conductor Ferenc Fricsay in Budapest. 

1915 Birth of American tenor Brian Sullivan, in Oakland, CA. 

1915 Birth of American soprano Anne Brown in Baltimore. 

1915 Birth of composer Haim Alexander.

1916 Birth of Canadian-American composer Dorothy Cadzow Hokanson.

1919 Death of Italian composer Ruggiero Leoncavallo in Montecatini, Italy.

1924 Birth of baritone Heinz Imdahl.

1925 Birth of Dutch composer Robert Heppener in Amsterdam.

1928 Birth of Italian mezzo-soprano Maria Teresa Mandalari.

1930 Birth of Australian baritone Chard Geoffrey. 1935 Birth of composer George S Leotsakos.

1939 Birth of composer and percussionist Max Neuhaus.

1941 Birth of English mezzo-soprano Nuala Willis in London. 

1949 FP of Carl Orff's opera Antigone in Salzburg.

1955 Death of American composer Marion Eugene Bauer in South Hadley, MA. 

1958 Death of Italian bass-baritone Louis D'Angelo. 

1959 Birth of Ukranian soprano Maria Guleghina, in Odesa. 

1962 Death of American soprano Helene Noldi Alberti. 

1963 FP of Lennox Berkeley's Four Ronsard Sonnets in London.

1965 Birth of American composer John DeBorde.

1966 Death of Swedish composer Gosta Nystroem in suburban Gothenberg. 

1975 Death of Russian composer Dmitri Shostakovich in Moscow. 1978 FP of Dave Brubeck's oratorio Beloved Son. Richard Sieber conducting, at the American Lutheran Women’s Convention in Minneapolis, MN.

1979 FP of Howard Hanson's ballet Nymph and Satyr in Chautauqua, TN.

1988 Death of Italian composer Giacinto Scelsi at age 83, in Rome.

1988 FP of Peter Maxwell Davies' Symphony No. 5. BBC Proms Concert by Philharmonia Orchestra, with the composer conducting at Royal Albert Hall in London.

2002 Death of German composer Bertold Hummel in Würzburg. 

2004 Death of American composer David Raksin in Los Angeles, CA.

[idealconservateur]

Giuseppe Verdi "Macbeth" -- Muti -- Bruson -- Guleghina -- Alagna 1997

Macbeth: Renato Bruson Lady Macbeth; Maria Guleghina Banco; Carlo Colombara Macduff: Roberto Alagna Malcolm: Fabio Sartori Dama: Marcella Polidori Medico: Enrico Turco Domestico: Danilo Serraiocco Sicaro: Orazio Mori 

Giuseppe Verdi "Macbeth" Opera in four acts Libretto by Francesco Maria Piave Coro del Teatro alla Scala di Milano Orchestra del Teatro alla Scala di Milano Conductor: Riccardo Muti

[joaquimblog]

En Jordi P és el segon i no l’últim dels oblidats en aquesta recta final de l’exitòs qüestionari de IFL, ja que després de Xavier Jaimejuan, va ser ell qui em va recordar que l’havia oblidat i per tant em reclamava justament la seva publicació ja que el qüestionari va ser enviat en els terminis establerts, però vet-ho-aquí que després ha estat Elio qui m’ha dit “Ep! que també falta el meu”. Renoi! quin daltabaix!

En Jordi P va escriure per primera vegada a IFL el 16 de setembre de 2014 arran d’un barbiere més aviat oblidava. Ença d’aquell comentrai de presentació que ja marcava tendència, en Jordi ha esdevingut un dels infernemlandaires més participatius i enriquidors, amb aportacions sempre interesants desacomplexadas, fresques i lliures. M’agrada que a l’illa deserta opti per la radicalitat i posi contra les cordes als que s’emportarien uina tetralogia sencera, ell només una ària. Fort! Se suposa que a una illa deserta les prioritats deuen canviar de manera radical i la gestió del temps res deu tenir a veure a la qwue podem idelaitzar, sigui com sigui, obre tard però l’obre, un debat interessant.

Amb en Jordi varem trigar a identificar-nos, però ara que ja ens hem reconegut, és un plaer compartir cada vegada que coincidim, una estona de d’apassionada passió.

Aquest és el seu qüestionari

La primera vegada que vas anar a l’òpera quin any va ser? Març 2004. Agggh!!! Va ser en aquest segle!!! Sóc tot un nouvingut!

A quin teatre? Al Liceu

Quina òpera vas veure? Macbeth, i encara la recordo, especialment la Lady Macbeth de la Maria Guleghina. Unes entrades de platea que em van regalar.

Els teus pares anaven o van a l’òpera? No, ningú de la família, però a la meva iaia Francisca li agradava d’escoltar-ne, i quan la vaig veure emocionant-se amb aquell primer concert dels tres tenors per la tele, em va picar la curiositat i vés per on, aquí estic…

Quin compositor operístic t’estimes més? Mmmmm… difícil escollir-ne només un. Triaria Wagner, té una música bellíssima, veritable gimnàstica per a l’ànima, com deia Plató.

Quina és l’aspecte que valores més d’una representació operística? Sens dubte la implicació dels artistes, músics, director. Sense aquesta condició és impossible que et creguis els personatges i que puguin fer que t’aparegui aquell calfred a l’espinada o emocionar-te de debò!!

Quin és el teu tenor predilecte? Buuffff!! Jo crec que aquí hi posaré Luciano Pavarotti. Tot i que no és un geni de la interpretació, però la veu, la trobo excepcional. El seu Canio amb el “Vesti la giubba” realment em posa la pell de gallina!

Quina és la teva soprano predilecta? Maria Callas, sens dubte. Només amb el seu àudio enregistrat ha estat capaç de fer-me plorar amb el  “vissi d’arte, vissi d’amore”

Quin és el teu baríton predilecte? Piero Capuccilli. El tinc present en una gravació d’un Simon Boccanegra!

Quina és la teva mezzosoprano predilecta? Cecilia Bartoli. Espectacular control vocal.

Quin és el teu baix predilecte? Matti Salminen. En el meu primer abonament el vaig veure fent de Boris Godunov i encara el tinc ben present. Una de les vegades que més he vist aplaudir al Liceu.

Quin és el teatre dels que has visita que més t’ha impressionat? La Scala. Per la mistificació que té.

Podries viure en una ciutat sense teatre d’òpera? Ara ja no. Em sortirien cars els desplaçaments!!

Quina és la teva òpera predilecte? Amb molta dificultat per a escurçar la llista a una, em quedo amb la Norma. Mira que se com acaba, però la tensió dramàtica del final sempre em fa contenir la respiració!

Quina òpera detestes? No n’hi ha cap que detesti i jo ho sàpiga. Si alguna no m’ha agradat, la he esborrat de la meva mem��ria i és com si no hagués existit.

Valora de 1 a 10 la importància del director d’escena en una representació operística. 5 Si la resta és bo, tampoc hi fa tant. I si la resta és dolent, no salva la representació.

A quina ciutat del món que no sigui la teva i amb teatre d’òpera, t’agradaria viure? A les tres que tinc en ment hi plou i hi fa fred però crec que Londres la posaria la primera.

Quin és el llibretista operístic preferit? No hi he parat mai massa interès. Però triaria Francesco Maria Piave, bon tàndem amb Verdi.

Quin és el teu heroi de ficció operística? Scarpia!! Sense dolents dolentíssims, els bons no serien res!

Quina és la teva heroïna de ficció operística? Les puccinianes, lliurant-se totes a l’amor! La més brava Floria Tosca!

La gravació operística que t’enduries a l’illa deserta? Jajaja!! Juntament amb el reproductor, si no no serviria de res! La Caballé amb “Depuis le jour” de la Louise de Charpentier. Ni tots els “Oooommmmmm…” del món poden aconseguir-te una pau d’esperit com aquesta interpretació.

El director d’orquestra operístic preferit? Victor de Sabata

El director d’escena preferit? Tampoc hi tinc gran detall en aquest àmbit, però en Robert Carsen m’ha semblat molt encertat amb el Ring…

La representació operística que t’hagués agradatassistir? Mmmmm…Una Tosca de Callas a la ROH, crec que de l’any 1964, amb Gobbi fent d’Scarpia. Només en van enregistrar un acte segon en el que he pogut veure Callas interpretant aquella ària que em va impactar quan la vaig escoltar per primer cop…

L’òpera barroca que més t’agrada? La meva cultura en aquest àmbit és molt minsa. Mai m’havia cridat l’atenció, però poc a poc vaig descobrint que hi ha coses bellíssimes. Del poc que conec trio Serse de Handel.

L’òpera clàssica que més t’agrada? Norma (Bellini)

L’òpera romàtica que més t’agrada? Tosca (Puccini)

L’òpera del segle XX que més t’agrada? Adriana Lecouvrer (Cilea)

L’òpera del segle XXI que més t’agrada? Em passa igual que amb l’òpera barroca, però aquí tinc clar que el que més m’ha impactat és el “Written on Skin” de Benjamin

Si poguessis escollir una vocalitat lírica, què t’agradaria ser: soprano, mezzosoprano, contralt, tenor, baríton o baix?Mezzo, sempre contrapesant…

Us deixo la versió de “Depuis le jour” de Louise de Gustave Charpentier que Montserrat Caballé va gravar l’any 1965 per la RCA sota la direcció de Carlo Felice Cillario i que en Jordi s’enduria a la seva illa deserta.

Gràcies Jordi P

I el qüestionari de Glòria Moreno que ha de tancar aquest llarg periple haurà d’esperar una setmana més ja que diumenge vinent tindrem, com ja us he dit el de l’amic Elio.

EL QÜESTIONARI IFL DE JORDI P En Jordi P és el segon i no l'últim dels oblidats en aquesta recta final de l'exitòs…

[artepoetica]

Giuseppe Verdi, Macbeth

Giuseppe Verdi, Macbeth Teatro alla Scala, Milano Renato Bruson (Macbeth) Maria Guleghina (Lady Macbeth) Carlo Colombara (Banco) Roberto Alagna (Macduff) Fabio Sartori (Malcolm) Direttore: Riccardo Muti Regia: Graham Vick Scenografia: Maria Bjornson

[mariacallous]

Weekly Metropolitan Opera streams, Feb 15-21

Hi, this week the Met Opera is featuring Franco Zeffirelli productions. Schedule & related articles/interviews here: https://www.metopera.org/user-information/nightly-met-opera-streams/week-49/ 

Monday night's stream of La Boheme might still work for a little while. From 2008, Angela Gheorghiu as Mimi, Ramon Vargas as Roger, Ludovic Tezier as Marcello (is it just me or does he sort of look like Alan Rickman?), Ainhoa Arteta as Musetta.

https://metoperafree.brightcove-services.com/?videoId=6230186286001 

https://www.metopera.org/season/on-demand/opera/?upc=811357011737 (with track list & synopsis link)

Tues night until Wed. 6:30 pm EST - Verdi's Falstaff from 1992. Mirella Freni, Barbara Bonney, Marilyn Horne, Susan Graham, Paul Plishka. Elizabethan costumes, with a fun spoopy masquerade scene towards the end! 

Wed - Cavalleria Rusticana & I Pagliacci, both featuring Placido Domingo, from 1978.

Thu - Puccini's Tosca featuring Hildegard Behrens, Placido Domingo, & Cornell MacNeil, 1985

Fri - Mozart's Don Giovanni from 1990, with Carol Vaness, Karita Mattila, Dawn Upshaw, Jerry Hadley, Samuel Ramey, Ferrucio Furlanetto, & Kurt Moll

Sat - Bizet's Carmen from 1997, with Angela Gheorghiu, Waltraud Meier, Placido Domingo, & Sergei Leiferkus

Sun - Puccini's Turandot from 2009, with Maria Guleghina, Marina Poplavskaya, Marcello Giordani, & Samuel Ramey

Some bonus leftovers from last week that appear to still be online/accessible: 

Philip Glass's Akhnaten - fabulously weird, ornate costumes & Zachary James as Amenhotep III is really good-looking. Very slow-paced & most of the singing is either just vocalizing, or it's not in English & not subtitled, but there are some interesting design elements here & the music is hypnotic. I'd recommend reading the synopsis first ( https://www.metopera.org/discover/synopses/akhnaten/ ) 

https://www.metopera.org/season/on-demand/opera/?upc=810004200920 (with track listing) or 

https://metoperafree.brightcove-services.com/?videoId=6225325353001

Verdi's Un Ballo in Maschera, 1991 - https://metoperafree.brightcove-services.com/?videoId=6225325514001 

 https://www.metopera.org/season/on-demand/opera/?upc=811357012727 

Berlioz's Les Troyens, 1983 -  https://metoperafree.brightcove-services.com/?videoId=6225325897001

https://www.metopera.org/season/on-demand/opera/?upc=811357011454

Wagner's Die Walkure, 1989 - https://metoperafree.brightcove-services.com/?videoId=6225325357001

https://www.metopera.org/season/on-demand/opera/?upc=811357011584

I'm not sure whether it's a glitch with my computer, so it might not work for anyone else, but Ariadne auf Naxos (streamed the week before last week) still seems accessible here: 

https://www.metopera.org/season/on-demand/opera/?upc=811357016664

 Hope you & maybe some followers enjoy some of these. 

[ilyasilchukov]

Meeting in Helsinki with fabulous Maria Guleghina

[rudyroth79]

Știri: Premieră la Opera Națională București: ”Turandot” de Giacomo Puccini (13, 14, 16 februarie 2020)

Știri: Premieră la Opera Națională București: ”Turandot” de Giacomo Puccini (13, 14, 16 februarie 2020)

Opera Națională București prezintă premiera spectacolului Turandotde Giacomo Puccini. Reprezentațiile cu titlu de premieră vor avea loc pe 13,14 și 16 februarie 2020, începând cu ora 18.30. Regia, decorul, costumele și luminile poartă semnătura lui Mario de Carlo, iar coregrafia îi aparține Corinei Dumitrescu. Maestru de cor: Daniel Jinga, maestru cor de copii: Smaranda Morgovan, asistent de…

[miamiclasica]

Nabucco, cuando la tercera es la vencida

  Después del inicial Oberto, sumido en la depresión más absoluta con el fracaso de Un giorno di…

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[tornamiadir]

30 day opera challenge

Day 23 - Evil character you would like to play - Lady Macbeth

Lady Macbeth is a dream role in the theatre and no less so in the opera world, thanks to Verdi's music, which calls for a harsh, almost emotionless tone, achievable by very few singers. 

Recommended viewing: Maria Callas | Shirley Verrett

[whatshouldwecallopera]

when Maria Guleghina sang the figlio del cielo sequence from turandot

I went