Concert opera has a long and glorious tradition in Montpellier. Each year the Orchestra National de Montpellier regales us with one or two during the Festival de Radio France et Montpellier (July).
If you want Italian opera go to Italy and hope for the best — like conductor Daniel Oren’s Manon Lescaut two years ago in Genoa.
Parsifal had its first performances in Bayreuth in 1882 where it was soon seen by Wagner’s soul mate Friedrich Nietzsche. And there the friendship ended.
The OpÈra National de Montpellier sometimes rises to artistic heights, and even when it fails its attempts are often interesting.
Rare repertory but not truly rare, Massenet’s Cendrillon makes an appearance from time to time.
Sir Peter Hall created this production of Otello at Chicago Lyric Opera in 2001.
If Herbert von Karajan conducted Madama Butterfly and Maria Callas sang Isolde it follows that Nicola Luisotti should conduct Salome.
There is a buzz of excitement in the War Memorial Opera House on Friday nights that is akin to the Saturday afternoon buzz at the Met.
Some of the more memorable achievements of San Francisco Opera occurred in the brief life-span of its Spring Opera season, 1961-1981.
In the otherwise silent sixteen years between La fanciulla del west (1910) and Turandot (1926) Puccini had a flirtation with operetta, La rondine (1917) and with the quick and easy drama of the short story in his three one-acts, Il trittico (1918), composed as a one-evening cycle.