Category: puccini

I don’t believe that Caballe’s full 1977 recor…

I don’t believe that Caballe’s full 1977 recording of Butterfly, has
never been released on CD. Her interpretation is one of my favorites. 

operaqueen: I don’t believe that Caballe’s fu…

operaqueen:

I don’t believe that Caballe’s full 1977 recording of Butterfly, has never been released on CD. Her interpretation is one of my favorites.

Montserrat Caballé ❤️

Montserrat Caballé ❤️

operaqueen: Maria Callas, Turandot.

operaqueen:

Maria Callas, Turandot.

operaqueen: As much as Beverly Sills didn’t t…

operaqueen:

As much as Beverly Sills didn’t think Puccini suited her voice, This is one of the most beautiful versions of O Mio Babbino Caro I’ve heard. Super rare as well, this is the only recording of Sills singing it. New York City Opera, 1967.

Con una Gala de Ópera que hizo vibrar al públi…

Con una Gala de Ópera que hizo vibrar al público celebró su segundo aniversario el Teatro Municipal de Chillán

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En el Brindis de ‘La Traviata’, canta el barítono Juan Font, la soprano Daniela Tabernig, el tenor Patricio Saxton y el Coro Ramón Vinay, en la Gala Internacional de Ópera que celebró el segundo aniversario del Teatro Municipal de Chillán.

El ambiente era de fiesta el pasado sábado 28 de julio en el Teatro Municipal de Chillán, recinto que celebró su segundo aniversario con una Gala Lírica que…

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operaqueen: Elisabeth Schwarzkopf singing a s…

operaqueen:

Elisabeth Schwarzkopf singing a sublime rendition of O Mio Babbino Caro. Recorded for EMI in the early 1960′s. This particular recording is not easy to come by, so I thought I would share it with all of you.

vaninnavaninni: Puccini at the time of compo…

vaninnavaninni:

Puccini at the time of composition of Turandot (1924).

Una renovada “Tosca” acertada en lo musical y …

Una renovada “Tosca” acertada en lo musical y de irregular puesta en escena divide opiniones en el Municipal de Santiago

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La soprano estadounidense Melody Moore, en el rol de Tosca, frente al acosador Barón Scarpia, a cargo del barítono ruso Elchin Azizov.

Por José Luis Arredondo.

La de “Tosca” es una de esas historias que entran a la médula de nuestras emociones y sentimientos desde su mismo inicio, gracias a un argumento que toca todas las fibras que movilizan el espíritu humano (amor, pasión, deseo, política,…

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I saw the most AMAZING production of Tosca las…

The staging was something you’d expect from the Met, and the singers themselves were stunningly talented. Props to all of them for handling such emotional and dramatic roles with grace. Scarpia, played by Argentinian-American baritone Gustavo Feulien, especially stood out to me-he really made the audience despise him, espcially during the Te Deum and all of Act II.

Although he was a great actor, I was a bit skeptical of Mario (Marco Pannucio)at first voice-wise(his voice was a bit lighter), but he grew on me during Recondita Armonia and his rendition of E Lucevan Le Stelle and his death scene brought me to tears.

And finally, Tosca herself. Portrayed by Elizabeth Baldwin, she was the classic soprano in every way, and her stage presence was spectacular, especially during her and Cavaradossi’s scenes in Act I, Vissi D’Arte and the stabbing scene. She showed hatred toward Scarpia without being over the top, and her voice was pitch-perfect for the role. It had a sweet and tender tone to it during high notes and a tinge of darkness in the lower register. Vissi D’arte, which is my favorite aria of all time, was absolutely heart-wrenching, and the entirety of Act III was simply brilliant.

Overall, this company outdid themselves this year. They’ve come so far from their other productions I’ve seen, and they certainly did my favorite opera justice.