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Our motto: "Critical thinking in the cheap seats." Unbiased, honest classical music and opera opinions, occasional obituaries and classical news reporting, since 2007. All written content © 2018 by Paul J. Pelkonen. For more about Superconductor, visit this link. For advertising rates, click this link. Follow us on Facebook.

Monday, April 23, 2018

The Verdi Project: Rigoletto

In which our composer creates a sensation and changes the world of opera, forever.
by Paul J. Pelkonen
Tito Gobbi (with Renata Scotto) looking suitably demented in a scene from Rigoletto.
There are Verdi operas and then there are those that stand as immortal pillars of the repertory. It is the opinion of this writer that the greatest of these is Rigoletto, a shattering tragedy that has captured the imagination of the public since it first took the stage in Venice in 1850. Verdi's fifteenth opera changed the art form permanently, and established him as the most beloved composer in Italy.

Sunday, April 22, 2018

The Verdi Project: Stiffelio

Verdi battles the censors with an opera about religion.
by Paul J. Pelkonen
Preacher man: José Cura as Stiffelio at the Metropolitan Opera.
Photo by Ken Howard © 2010 The Metropolitan Opera.
(Note: This article was originally going to be about Luisa Miller, which is a Verdi opera of some considerable interest and importance. However, with the recent Metropolitan Opera Preview and review of that work on Superconductor in recent weeks, we thought it might be interesting to look at a lesser known (but very important) Verdi work.)

There are twenty-eight canonical operas in the Verdi canon, and some of them have had to wait longer than others to be discovered and performed in the standard repertory. None waited longer than Stiffelio, the opera that Verdi composed for the stage in Trieste. Chopped by the censors and revised twice into operas with very different titles, Stiffelio finally became a stage success in 1968. (An approved critical edition of the score, drawn from Verdi's own papers did not appear until 1993, when it was staged at the Metropolitan Opera. It has been revived a few times since.)

Saturday, April 21, 2018

Concert Review: Deep Space Ninth

The New York Philharmonic tours the heavens with Bruckner.
by Paul J. Pelkonen
Man in motion: the conductor Christoph Eschenbach.
Photo by Chris Lee.
A good idea is a good idea. That might be the rationale between this weeks New York Philharmonic program which pairs Mozart’s charming Piano Concerto No. 22 with Anton Bruckner’s sprawling, ambitious and ultimately unfinished Symphony No. 9 under the baton of guest conductor Christopher Eschenbach. For New York’s Bruckner enthusiasts, this concert evoked memories of January 2017, when Daniel Barenboim led the Berlin Staatskapelle in a cycle of Bruckner symphonies at Carnegie Hall, pairing the shorter works with the major Mozart piano concertos. (Mr. Barenboim paired the Ninth  with Piano Concerto No. 23.)

Friday, April 20, 2018

Opera Review: A Piece of Fairy Cake

Joyce DiDonato sings a radiant Cendrillon at the Met.
by Paul J. Pelkonen
The lighting department: Joyce DiDonata as Cinderella in Massenet's Cendrillon.
Photo by Ken Howard © 2018 The Metropolitan Opera.
At the end of the 2014 season, the mezzo-soprano Joyce DiDonato climbed atop a wedding cake at the end of Rossini's La Cenerentola, a role in which she caused a sensation at the Metropolitan Opera. This month, Ms. DiDonato returned to the stage of America's largest opera house--and to the ballrooms of a very familiar fairy tale--to sing the title role in Cendrillon, the 1899 adaptation of the Cinderella story by Jules Massenet.

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Critical Thinking in the Cheap Seats

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Since 2007, Superconductor has grown from an occasional concert or CD review to a near-daily publication covering classical music, opera and the arts in and around NYC, with excursions to Boston, Philadelphia, and upstate NY. I am a freelance writer living and working in Brooklyn NY. And no, I'm not a conductor.