Zeljko Lucic

Two operas in two days at Barcelona’s legendary Liceu opera house. Who could ask for anything more? Well, turns out you can, judging by the visiting ALCINA from Marc Minkowski’s Musiciens du Louvre and the Liceu’s new production of Verdi’s MACBETH by Jaume Planes. Part II: Verdi’s MACBETH

Five years ago, Anna Netrebko unveiled her take on Verdi's Lady Macbeth at the Met and wowed audiences from here to eternity. But since the first week of the Met season, she's brought her sexy, ebullient and take-no-prisoners Lady Macbeth back and showed that she's even better than ever--singing the pant (and the spots) off the role.

No matter what one thinks of the Met's transfiguration of Verdi's RIGOLETTO from Francesco Maria Piave's Mantua to '60s Las Vegas--I personally like much of this “Rat Pack” production from director Michael Mayer--the singing at Saturday's performance [the second of the season] was first rate.

As with most tales of doomed romance, Giuseppe Verdi's LA TRAVIATA highlights the contrasts between two social spheres and the difficulties faced by lovers who try to bridge this chasm. In this 1853 opera, based on a play by Alexandre Dumas, fils, the beautiful courtesan Violetta Valery (Albina Shagimuratova) tries to escape her past life among the hedonistic upper classes of Paris to settle down with her true love, Alfredo Germont (Giorgio Berrugi). After a brief period of bliss, the couple is driven apart by the strict bourgeois morality of Alfredo's family, in particular his father, who refuses to overlook Violetta's shameful past until she is on her deathbed.

Talk about baptism by fire! That's what Gustavo Dudamel--that wunderkind of the classical conducting world--faced as he reached the podium of the Met for the first time Friday night. Not only was he conducting Verdi's great opera, OTELLO, but he was doing so with a last-minute substitute in the title role. The result: All went well with the Met's production of the masterwork.

BWW Review: TOSCA at Metropolitan Opera

Lyric Opera of Chicago is pleased to announce the participation of several outstanding singers in the Renee Fleming 25th Anniversary Concert & Gala*, to honor and celebrate American soprano Renee Fleming's extraordinary commitment to Chicago and her unparalleled contributions to our art form.

Anyone who was expecting the equivalent of Bette Midler's arrival as Dolly in the Harmonia Gardens when Jonas Kaufmann finally returned to the Met, on October 17, after four years and some high-profile cancellations, must have been wildly disappointed. Oh sure, Kaufmann looked like a glamorous buckaroo and compared to some of the star tenor misfires already this season at the Met, he had a triumph.

The trials and tribulations of the Met's new take on Puccini's TOSCA have been well documented--with all three principals replaced along with two conductors--and it would be nice to be able to say that everything came out happily-ever-after. Alas. There's nothing wrong with the company's surprise-free new take on one of Italian opera's most famous works that a stronger director couldn't come in and cure.

Emmanuel Villaume will conduct the Met's new production of Puccini's Tosca, on December 31, 2017, and January 3, 6, 9, 12, 23, and 27, 2018, replacing James Levine.

Despite some fine singing from soprano Patricia Racette (who also went the Full Monty in the title role), the Met's revival of Richard Strauss's SALOME was a little tame--something that it should never be.

Tonight, December 2, Verdi's RIGOLETTO returns to the Met with a new cast of principals stepping into the 1960s Las Vegas setting of Michael Mayer's acclaimed production.

On Wednesday, December 2, Verdi's RIGOLETTO returns to the Met with a new cast of principals stepping into the 1960s Las Vegas setting of Michael Mayer's acclaimed production.

The Met's production of Verdi's great opera RIGOLETTO, is often referred to as the 'Ratpack' version--because it is set in the Las Vegas days of Frank Sinatra and his high-living cronies. From its debut, it was a huge success for the company and with good cause. It was brilliantly conceived and sung, even though the title role seemed fuzzier than it usually is in the standard setting. But how would it stand up, season after season, I wondered, when the novelty wore off? The good news is that the production (excitingly designed by Christine Jones) not only remains effective and entertaining, but, in a key way, it is even better than at the premiere nearly three years ago.

The title character in Puccini's TOSCA is the quintessential diva--a grand performer ('goddess' in Italian) who thinks the world revolves around her, particularly when it comers to her lover, painter Mario Cavaradossi. The same might be said for soprano Angela Gheorghiu, who used to be a top attraction at the Met, until cancellations and other prima donna-ish actions saw her fall from favor, despite her fine singing and acting skills. Well, she came back for two performances of her well-traveled (and -received) Floria Tosca and the result was, well, disappointing.

When Verdi and Boito were writing their operatic version of Shakespeare's OTHELLO, they were competing with the already-successful (though less faithful) version written by Rossini and thought about calling their opera IAGO. After seeing Bartlett Sher's new production of the Verdi OTELLO, I wondered whether it might have been renamed DESDEMONA--because soprano Sonya Yoncheva gave the opera's most devastating and gorgeous performance.

The Capitol Center for the Arts is pleased to announce that it will present 11 productions in next season's Met: Live in HD series, beginning with Verdi's Il Trovatore on Saturday, October 3, at 12:55pm. Single tickets for this series are on sale now for $26 Adults; $22 Seniors/Met/CCA Members; and $15 Students. Season subscriptions are also available at $234 Adults; $198 Seniors/Met/CCA Members; and $135 students.

Željko Lucic has withdrawn from his spring Met engagements due to illness. In his place, George Gagnidze will sing Alfio in the new production of Mascagni's Cavalleria Rusticana. Gagnidze, who will also sing Tonio in Pagliacci as originally scheduled, will join Marcelo Álvarez in performing in both halves of the evening's double bill; Álvarez sings both Turiddu in Cavalleria Rusticana and Canio in Pagliacci.

Soprano Angela Meade, the youngest singer ever featured on the cover of the “Diva Issue” of Opera News (November 2014), launches 2015 with a trio of high-profile events in January. She makes her eagerly awaited debut with the New York Philharmonic under Alan Gilbert in three performances of Verdi's Requiem at Avery Fisher Hall (Jan 15-17). Later in the month audiences have the opportunity to hear her star turn in the Richard Tucker Music Foundation's annual gala concert on aLive From Lincoln Center broadcast. “Richard Tucker Opera Gala: A New Century”, which was taped last October, airs on PBS on Friday, January 23, 2015. This weekend Meade is performing in a more intimate New York setting at the Morgan Library (Jan 11) where she shares the bill of a George London Recital with baritone Nicholas Pallesen, a fellow winner of the George London prize.

Verdi's Egyptian tragedy Aida, returned to the Met stage October 30 for a 16-performance revival with rotating casts of acclaimed artists and rising stars. The initial performances will star Ukrainian soprano Liudmyla Monastyrska, who made a notable Met debut in the role in 2012, as Aida; Olga Borodina in one of her best-known portrayals as the jealous princess Amneris; Marcello Giordani as the war hero Radamès, a role he first sang at the Met in 2012; Željko Lu?i? in his first-ever Met performances as Amonasro, Aida's father; Ukrainian bass Dmitri Belosselskiy in his Met role debut as the high priest Ramfis; and American bass Soloman Howard in his Met debut as the King. Italian tenor Antonello Palombi will make his Met debut as Radamès on November 22.