Rolando Villazón as Nemorino exhibits a real gift for comic acting, manipulating his rubber face into dozens of hilarious poses, flawlessly turning stock comic gestures into laugh-out-loud moments, and even juggling apples with the panache of a circus performer. More important, he uses his lyric tenor to sing the part with impressive subtlety, suggesting Nemorino's desperation while singing of his love for Adina. His big show-stopper, "Una furtiva lagrima," features melting pianissimos and a breathtaking decrescendo in its final phrase. Netrebko's Adina is every bit as good, with deft acting and a lovely lyric soprano voice that makes you understand why she's the only girl for Nemorino.
Italy's foremost female rock singer, Gianna Nannini, was born in Siena on June 14, 1956, to a family that included a renowned industrialist and Siena Football Club president father and a Formula One pilot brother. Often described as the creative rebel in the family, Nannini attended the Lucca Conservatory throughout her entire adolescence, where she was trained as a pianist…
Two years after the first installment comes Buck 'Em!: The Music of Buck Owens, Vol. 2, a double-disc set chronicling the eight years when Buck Owens was a crossover superstar thanks to his prominent role as a co-host of Hee Haw. Buck started to slide into a rut toward the end of this run – a process accelerated by the tragic death of his right-hand man Don Rich in 1974, a loss from which Owens never fully recovered – but producer Patrick Milligan slyly disguises this trend by nestling deep cuts, live tracks, and outtakes among the best of his hits, thereby painting a portrait of Buck Owens as a musician nearly as adventurous as he was during the purple patch of the '50s and early '60s.
Jonathan Kent’s new production of Manon Lescaut recorded at the Royal Opera House in 2014, includes a stellar cast, featuring Kristine Opolais and Jonas Kaufmann in the roles of the young lovers Manon Lescaut and the Chevalier des Grieux. Kent brings this 19th-century classic to a 2014 setting, non-naturalistic and theatrical. Supporting the action on stage is the Orchestra and Chorus of the Royal Opera House, with their venerable Music Director Antonio Pappano.
"From the moment Kaufmann and Opolais embark – with infinite delicacy – on their emotional journey, it becomes clear that this is a vocal marriage made in heaven. His warmly burnished sound is balanced by the exquisitely nuanced purity of hers, and they are supported by a performance in the pit, under Antonio Pappano, of rare refinement." – The Independent