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Table Of Contents: March 2001
Vol. 65, No. 9
Articles by Martin Bernheimer, Will Crutchfield, Richard Dyer, Mary Jane Phillips-Matz
The Road to Babylon
Director Elijah Moshinsky and designer John Napier, the creative team behind the Met's first new production of
in forty years, talk to PATRICK GILES.
Just who is the ideal Verdi soprano? Muzio or Milanov? Ponselle or Price? Or none of the above? RICHARD DYER looks for the answer in recordings of an aria that may be the composer's most challenging.
Unsafe at Any Speed
For prima donnas from Strepponi to Souliotis, Abigaille has proved to be a killer role. WILL CRUTCHFIELD charts the
Grace Ann Under Pressure
What has Grace Bumbry been up to lately? ALBERT INNAURATO finds out.
Portraits of Manon
Massenet's Manon may not be opera's noblest heroine, but STEVEN BLIER argues that she may be its most adaptable.
Stages of Verdi
MARTIN BERNHEIMER revisits some of the twentieth century's most influential Verdi productions.
Sound Bites: Christine Brandes
By BROOKS PETERS
What to Read and Hear
Telecasts of the Met's
Tristan und Isolde
La Bohème; vintage Horne and Moffo appearances
Verdi's Final Masterpiece. By MARY JANE PHILLIPS-MATZ
A new translation of
; Callas under the microscope
On the Beat
Baritones Victor Braun and Cesare Bardelli; bass Aage Haugland; director Götz Friedrich; translator Ruth Martin; actor Werner Klemperer
Metropolitan Opera Broadcasts
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Glyndebourne’s live recording of
is unusually satisfying, thanks to conductor Vladimir Jurowski and the lyrical Hans Sachs of Gerald Finley.
For soprano Kiri Deonarine the Met was never an unfamiliar place. She was a regular backstage as a child, when her father, baritone Kim Josephson, was singing there.
Singing the role of Francesco Foscari, the fifteenth-century Doge of Venice, in the Royal Opera's production of Verdi's
, Plácido Domingo still evinces a brilliance and clarity that most singers would kill for.
October 2014 — VOL. 79, NO. 4
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