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Table Of Contents: January 2000
Susan Graham: Living It Up in Operaworld
Vol. 64, No. 7
Scotto on Style
Giuseppe di Stefano
Stages of di Stefano
Now in his late seventies and happily retired, tenor great Giuseppe di Stefano remembers his career with affection, pride and humor -- but no regrets. JONATHAN KANDELL reports.
Tempo di Mascagni
Just how should
be performed? It's the composer's own recordings that give ALBERT INNAURATO thrills.
Variations on an Idol
DAVID HAMILTON examines how the music of Mozart inspired the art and career of Richard Strauss.
The inimitable Renata answers questions from IRA SIFF on her sense of vocal style.
Friends and Rivals
MARY JANE PHILLIPS-MATZ traces the complicated professional and personal relationships of five promising young composers named Catalani, Franchetti, Leoncavallo, Mascagni and Puccini.
Living It Up in Operaworld
Susan Graham is having the time of her life as one of opera's most in-demand mezzo-sopranos. DAVID J. BAKER talks to this month's Met broadcast Octavian.
Moment of Truth
Renée Fleming sings her first Metropolitan Opera Marschallins this month. Could this become her ideal role? The soprano shares her thoughts on
with BROOKS PETERS.
An anniversary salute to Anna Moffo by PATRICK GILES
On the Beat
What to Read and Hear
from Glimmerglass Opera
Company Box: Hawaii Opera Theatre
By JIM BECKER
Long Distance Run. By ROGER EVANS
Best of the Year
Our pick of the best recordings released in 1999
Metropolitan Opera Broadcasts
Cavalleria Rusticana, Pagliacci
High Scorers: Jake Heggie
By TOM SAVAGE
Table of Contents
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Find past issues, features, reviews, recording and more.
Celebrating the 80th Anniversary of
with seminal articles and excerpts from our archives that have never before appeared on our website.
With a cast of four superb singing actors, West Edge Opera’s excellent, unbuttoned production of Thomas Adès's
Powder Her Face
brought an atmosphere of nostalgia and humanity that kept the work's raunchy humor in perspective.
Featuring Klaus Florian Vogt in the title role, Bayreuth's new production of
was technically and musically impeccable, catapulting the festival to Olympus-like heights.
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