Unpleasant Operas or French Music Drama as Heard by Corno Di Bassetto by Eduardo Valls Oyarzun

“…However, this theory changes dramatically when Shaw addresses French authors, ranging from Léo Delibes, Jules Massenet and Georges Bizet to Charles Gounod. This essay examines how Shaw’s vision of the genre changes after his development of the Life Force theory, which, in turn, compels the reader to reassess Shaw’s understanding of the French opera tradition in the late 1880s and 1890s. …”
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“INTEGRITY, DISCIPLINE AND HUMBLE, CONSTANT HARD WORK – THESE ARE THE SECRETS OF A LONG AND SUCCESSFUL CAREER” by Adél FEKETE

“…Throughout her career, she performed many prima donna roles (such as Saffi in The Gypsy Baron by Johann Strauss II, Countess Liza in The Land of Smiles by Franz Lehár, Rosalinda in Die Fledermaus, Victoria etc.) and has achieved well-deserved recognition for her interpretation of Verdi’s heroines – Abigaille, in Nabucco, Leonora in Il Trovatore, Amelia in Un Ballo in Maschera, Amerlia Grimaldi in Simon Boccanegra as well as Lady Macbeth, but also for the roles of Micaëla (from Carmen by Georges Bizet), Santuzza (from Cavaleria Rusticana by Pietro Mascagni), Elisabeth (in Wagner’s Tannhäuser) or Puccini’s Tosca. …”
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