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Operavore
Operavore is WQXR's digital 24/7 audio stream, blog and weekly radio show devoted to opera.
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Divas are the stars of opera and the stuff of legend. They are full of tantrums and tears. They are separated from ordinary mortals by a whole tradition of extravagant and occasionally un-team-like behavior. But divas – or drama queens – are what keeps opera interesting.
This week, American mezzo Joyce DiDonato talks to Marilyn Horne about the fun of being a drama queen on stage. Plus: Washington Post classical music critic Anne Midgette tells us about some real-life drama queens. Below is a special preview.
Anne Midgette's Top Five Off-Stage Drama Queen Moments in Opera Lore:
5. Soprano Angela Gheorghiu works with Georg Solti and refuses to sing portamento
4. Soprano Zinka Milanov disses tenor Kurt Baum during an Aida duet
3. Soprano Jessye Norman says: "this baby don't do no #@&!?! recits"
2. Soprano Kathleen Battle and the limousine driver
1. Two words: Luciano Pavarotti
On February 23, Operavore will be looking at uses of opera in film, in advance of the Academy Awards. Beforehand, we'd like to hear from you: What is your favorite use of opera in film? Take our poll below or leave a comment:
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About Operavore
Operavore keeps its finger on the pulse of the international opera scene. We offer news bulletins from the around the globe, previews of new recordings, and interviews with the players and personalities on the scene.
Comments [5]
Listening to Callas singing is always a magnificent and unique experience, no matter where. But in this particular case the touching and beautiful aria of Andrea Chenier "La Mamma morta" contributed greatly to the pathos in the film.
I believe that it also surprised audiences that have never listened to opera before and they felt transported by such music. It was great to see how popular this aria became.
How about the Tosca scene from Quantum of Solace?
Someone seems to have been missing from this edition of Operavore. I was wondering how long that would take.
Thanks for eliminating La Cieca!
Please, Naomi Lewin, don't talk so much during the Operavore program particularly for interviews such as Marilyn Horne/Joyce DiDonato. We don't need you to tell us what we're going to hear, and then tell us what we heard, and then what we're going to hear after a break. Chopping up an interview is apparently a necessity, but please limit yourself to the absolute minimum necessary to introduce a segment.
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