Rene Pape

The Lady or the Tiger? In this case, both are Mussorgsky’s BORIS GODUNOV—just different versions of it. Which is the preferred one? (Or, more properly, “the preferred one of several,” including one that the composer’s friend, Rimsky Korsakov, fiddled with after his death.) The Met chose Mussorgsky's original, and shorter, version for its revival of the composer's most famous opera this season.

 Los Angeles Opera has a wealth of operatic and recital material on its website page On Now.  A must see link is the company’s inaugural event, the virtual company premiere of The Anonymous Lover, an unjustly neglected 1780 chamber opera by Joseph Bologne, better known as the Chevalier de Saint-Georges.

In the midst of this COVID-19 crisis that is gripping the world--and keeping so many people in quarantine--the Metropolitan Opera managed to pull off a brilliantly executed music coup. It connected stars, chorus members and orchestral musicians in an “At-Home Gala”--a combination fund-raiser for the Met with wonderful entertainment. And the technology worked!

For all you lovelorn, “live opera”-lovers, the Met is coming to the rescue from COVID-19 this afternoon, Saturday April 25, at 1pm New York time, with a gala concert featuring over 40 artists performing direct from their homes around the world.

I caught up with rising star bass-baritone Christian Van Horn the other day, to find out what the devil was going on with his starring role in the Met's first performance of Arrigo Boito's MEFISTOFELE in almost 20 years. Were you nervous as hell (pun intended) on the first night, I asked Van Horn, winner of this year's prestigious Richard Tucker Award, in your role as the Devil?

Richard Wagner's last opera, PARSIFAL, is a tough nut to crack. With its highly religious overtones, lack of action and incredible length (it ran about 5 hours 40 minutes the other night), it's not exactly a 'light night' at the opera--even if for those of us who consider opera to be a 'light night'. Still, with the right cast and conductor, it can be transcendent. The Met's new revival came pretty close to getting us there.

Klaus Florian Vogt will sing the title role in the first revival of one of the most acclaimed Met productions in recent years, Wagner's final opera, Parsifal, conducted by Yannick Nézet-Séguin and directed by François Girard.

Met Music Director Emeritus James Levine conducts one of his signature pieces, Mozart's final opera, Die Zauberflote, which returns to the Met September 26 for full-length performances in German.

Met Music Director Emeritus James Levine conducts one of his signature pieces, Mozart's final opera, Die Zauberflote, which returns to the Met September 26 for full-length performances in German.

For the sheer magnitude of its singing, there hasn't been anything like the Met's ecstatic new production of TRISTAN UND ISOLDE--seen a week after it opened the season on September 26--in a very long time.

San Francisco Opera's Summer 2016 Season at the War Memorial Opera House continues with Don Carlo, Giuseppe Verdi's grand opera of political intrigue and passion, opening on June 12. Starring an internationally renowned cast including Michael Fabiano, Ana Maria Martinez, Mariusz Kwiecie? and Rene Pape, Don Carlo is directed by Emilio Sagi and conducted by Company Music Director Nicola Luisotti. Opening on June 14, Leoš Jana?ek's riveting Jen?fa completes the summer opera season. Last presented by the Company in 2001, Jen?fa returns in an Olivier Tambosi production conducted by Ji?i B?lohlavek and featuring legendary Finnish soprano Karita Mattila, Malin Bystrom, William Burden and Scott Quinn.

The January broadcasts of The New York Philharmonic This Week - the weekly radio series of concerts and recordings by the New York Philharmonic, hosted by Alec Baldwin - begin with Alan Gilbert leading the Orchestra in an all-Mozart program: the Mass in C minor, Great, and Piano Concerto No. 22, featuring Emanuel Ax as soloist. The Mass features soprano Jennifer Zetlan, mezzo-soprano Jennifer Johnson Cano, tenor Paul Appleby, baritone Joshua Hopkins, and the New York Choral Artists, directed by Joseph Flummerfelt.

The January broadcasts of The New York Philharmonic This Week - the weekly radio series of concerts and recordings by the New York Philharmonic, hosted by Alec Baldwin - begin with Alan Gilbert leading the Orchestra in an all-Mozart program: the Mass in C minor, Great, and Piano Concerto No. 22, featuring Emanuel Ax as soloist. The Mass features soprano Jennifer Zetlan, mezzo-soprano Jennifer Johnson Cano, tenor Paul Appleby, baritone Joshua Hopkins, and the New York Choral Artists, directed by Joseph Flummerfelt.

A little slapstick here, a little mysticism there, some knockout arias, a love story, parental conflict--put them all together and you have Mozart's DIE ZAUBERFLOTE--better known in these parts as THE MAGIC FLUTE. Add a good cast and a spectacular production with wonderful effects, flying boys, Bunraku-style bears, serpents and other animals and you should have a wonderful evening at the Met. The key word is 'should,' because this week's FLUTE was somehow less than the sum of its parts.

Ever since I heard Anna Netrebko's “Verdi” album last year, which highlighted excerpts from the operatic treatment of Shakespeare's MACBETH, I knew her Verdi was the real deal and couldn't wait for her to take on the full Lady Macbeth on stage. Her performances in the Adrian Noble production currently at the Met confirmed my best expectations--and then some.

The wonderful German singer Rene Pape made history when he made his recital debut at the Met last week—the first bass to perform a solo program at the house. He showed off his dexterity with languages, singing in German, Russian and English, and his ability to move from art songs to musical comedy, sensitively accompanied by pianist Camillo Radicke.

For the first time at the Met, star soprano Anna Netrebko delivers her searing portrayal of Lady Macbeth, the mad and murderous mate of Željko Lu?i?'s doomed Macbeth. Adrian Noble's chilling production of Verdi's masterful adaptation of Shakespeare's tragedy also stars Joseph Calleja as the noble Macduff and Rene Pape as Banquo. Fabio Luisi conducts.

Star tenor Jonas Kaufmann sings the title role in a new production of Wagner's final masterpiece Parsifal, staged by acclaimed French Canadian director François Girard in his Met debut, on Great Performances at the Met Sunday, July 28 at 12 noon on PBS (check local listings). (In New York, THIRTEEN will air the opera in two parts: Friday, August 16 at 9 p.m. and Friday, August 23 at 9 p.m.). We have a first look below!

Legendary music producer, Milt Okun along with composer Lee Holdridge are bringing some of the most famous names in opera to John Denver's famous hit songs on the new album 'Great Voices Sing John Denver'.

When Fabio Luisi took up his post as General Music Director of the Zurich Opera last fall, he helped launch a new era, marked by bold productions and inspired artistic collaborations. For the great Swiss opera house's newly announced 2013-14 season, he continues to build on this auspicious start. As the Intermezzo blog reports, "Zurich's programming is showing an increasingly adventurous touch," and Luisi has succeeded once again in attracting some of today's most visionary directors and conductors - with such young stars as Mikko Franck, Teodor Currentzis, Cornelius Meister, and Pavel Baleff - and in drawing together first-rate casts that juxtapose living legends like Cecilia Bartoli, Edita Gruberova, Anne-Sofie von Otter, Rene Pape, and Nina Stemme with emerging singers on the cusp of international stardom. Anchoring the new season are eleven new productions, 18 revivals, and six orchestral concerts. Having just won a Grammy Award for his leadership of Wagner at the Metropolitan Opera, in Zurich Luisi sets his sights on this year's other great operatic bicentennial, with four operas by Giuseppe Verdi. The conductor himself will play a major part in the new season, premiering important productions of Fidelio and Aida, as well as leading four programs with the Philharmonia Zurich and revivals of Don Carlo, Les contes d'Hoffmann, and Bellini's La straniera. By way of a prelude to the upcoming season, the company's new take on this bel canto classic will form the centerpiece of Luisi's summer in Zurich, which also sees him directing Rigoletto, Der Rosenkavalier, and concerts of Schumann's orchestral and choral music.