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Table Of Contents: March 2003
Vol. 67, No. 9
The Great 1960s Vocal Crisis
Vladimir Galouzine on
Bohemians on Broadway
How did a 107-year-old opera become the hit of the Broadway season? BROOKS PETERS looks for an answer in the audience.
ERIC MYERS talks to Baz Luhrmann, the man who brought Puccini to Broadway.
There Goes the Neighborhood
JÖRG VON UTHMANN charts the ever-shifting world of Paris's bohemians.
A New Lion Roars
Vladimir Galouzine, who sings his first Met performances of Verdi's
this month, holds MATTHEW GUREWITSCH spellbound.
In the 1960s, a galaxy of beloved opera stars underwent very public vocal crises -- and the effects of this upheaval still linger. STEVEN BLIER reports.
Turandot's Last Riddle
ALAN RICH listens to Luciano Berio's new ending for Puccini's famously unfinished swan song.
DAVID J. BAKER puts the callow hero of
under the microscope.
The March of Adamo
Composer Mark Adamo, whose
arrives at NYCO this month, visits with WILLIAM V. MADISON.
Tales From The Triptych
FRED COHN profiles Steve Reich's multimedia opera Three Tales, due on DVD this spring.
by RUDOLPH S. RAUCH
by F. PAUL DRISCOLL
On The Beat
by BRIAN KELLOW
Sound Bites: Jill Grove
by ERIC MEYERS
Notes From the Road: Dolora Zajick in Barcelona
by WILLIAM V. MADISON
On DVD: Zeffirelli's 2001 production of
for Busseto; Karajan conducts Freni and Gianni Raimondi in 1965
; Del Monaco and Carteri as Otello and Desdemona; Menotti's film of
, with Powers, Alberghetti and Coleman
Designer Maria Bjørnson; Santa Fe Opera founder John Crosby; NYCO veteran Ruth Kobart; administrator Kathy Magiera; manager Agnes Eisenberger
Coda: Opera on the Book
by BETSY MINGO
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Celebrating the 80th Anniversary of
with seminal articles and excerpts from our archives that have never before appeared on our website.
, given its world premiere at LA Opera in the Redcat Theater, turned out to be a powerful morality play that addressed itself to some of the abiding terrors of our own time.
, given its world premiere by Cincinnati Opera on June 11, elicits tears not because it demands them, but through its understated treatment of an impossibly sad situation.
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