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René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

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Morgen und Abend — World Premiere, Royal Opera House

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Company XIV Combines Classic and Chic in an Exquisite Cinderella

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This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

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Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

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Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

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La Bohème, ENO

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Luigi Rossi: Orpheus

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64th Wexford Festival Opera

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Christoph Prégardien, Schubert, Wigmore Hall London

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The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.

La Vestale, La Monnaie, Bruxelles

In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.

Shattering Madama Butterfly Stockholm

An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera

Theodora, Théâtre des Champs-Élysées

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Bostridge Sings Handel

1985 must have been a good year for founding a musical ensemble, or festival or organisation, which would have longevity.



17 May 2005

Cyrano at the Met

NEW YORK—There’s a line in Act 2 of Franco Alfano’s rarely heard opera “Cyrano de Bergerac” that marks a critical turning point in the sad story of a poet’s unrequited love: “The Tiger’s awakening.” It’s said to Cyrano, the artist with a short temper, a fast sword and an excruciatingly big nose. But it might well stand for the effect tenor Placido Domingo had on audiences Friday night at the Metropolitan Opera when he sang the title role, a new role and the 121st of his exceptionally long and productive career.

At the Met's 'Cyrano,' Domingo Fills the Bill

By Philip Kennicott [Washington Post, 15 May 05]

NEW YORK -- There's a line in Act 2 of Franco Alfano's rarely heard opera "Cyrano de Bergerac" that marks a critical turning point in the sad story of a poet's unrequited love: "The Tiger's awakening." It's said to Cyrano, the artist with a short temper, a fast sword and an excruciatingly big nose. But it might well stand for the effect tenor Placido Domingo had on audiences Friday night at the Metropolitan Opera when he sang the title role, a new role and the 121st of his exceptionally long and productive career.

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Sprinkled With Fairy Dust


The rule at the Metropolitan Opera seems to be, "Whatever Placido wants, Placido gets." It has been that way for many years. The rule - if it is a rule - is a good one: The opera-going public has been the beneficiary. Three seasons ago, Mr. Domingo brought "Sly" to the Met, in a production fashioned by his wife, Marta. "Sly" is an opera by Ermanno Wolf-Ferrari, and it's not an immortal one, but they don't all have to be, and "Sly" proved worth knowing.

On Friday night, Mr. Domingo starred in Alfano's "Cyrano de Bergerac," which was receiving its U.S. premiere. It, too, is worth knowing, and has provided Mr. Domingo - and others - a bona fide hit.

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Long-Nosed but Handy With a Pen and a Song

By ANTHONY TOMMASINI [NY Times, 16 May 05]

Music historians who have been poised to rewrite, if necessary, the chronicle of 20th-century opera, can relax. The Metropolitan Opera's first production of Franco Alfano's "Cyrano de Bergerac," which the company asserts is the North American premiere of this almost unknown 1936 work, opened on Friday night. It is no unjustly neglected masterpiece. It is not even an especially good opera.

But thanks to a vibrant production by the director Francesca Zambello, an admirable cast and, especially, the impassioned portrayal of the title role by Plácido Domingo, "Cyrano de Bergerac" does prove an engaging entertainment. The Met agreed to present this opera, a co-production with Covent Garden in London, at the behest of Mr. Domingo, who wanted to make Cyrano the 121st role of his career.

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Cyrano de Bergerac, Metropolitan Opera, New York

By Martin Bernheimer [Financial Times, 16 May 05]

You know the old refrain. "Whatever Pláci wants, Pláci gets . . ." Friday night at the Metropolitan Opera, Plácido Domingo got to rhapsodise through an inflated proboscis, pine for an elusive love, swagger, stagger and die always beautifully on behalf of good old, self-sacrificing Cyrano de Bergerac. The esoteric vehicle, completed by Franco Alfano in 1936 and, it is claimed, never before performed in North America, was exhumed for the overachieving tenorissimo at the twilight of his singing career. Now 64 (iconoclasts still debate the official statistic), he will no doubt flourish as impresario, conductor and badness knows what else long after his vocal cords have rusted.

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In twilight, Domingo has a nose for glory


"Panache" is the last word uttered by Cyrano de Bergerac in Edmond Rostand's play and Franco Alfano's opera. Usually understood as "verve" or "theatricality," it derives from terms denoting both a writer's quill and the plumes on a cavalier's hat, hinting at the self-referential sophistication of the tale of the long-nosed swordsman and poet.

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