
This performance, taken from the Metropolitan Opera broadcast of Jan. 5, l935, has always been somewhat notorious, due mostly to Rosa Ponselle’s almost too-vivid portrayal
Bidú Sayao was a world-famous Manon, and this performance, her debut at New York’s Metropolitan Opera in February of l937, makes clear why. She temperamentally
Although the composer himself probably would have denied it strenuously, this music really is great fun. The poetry in “Pierrot Lunaire” is simply the last
Ariodante, from 1735, comes from one of the composer’s finest periods, one in which his melodic and dramatic invention seem to have been at their