Cher Public

Harry Rose

Celeste graffiti

I see flags, I hear bells, There's a parade in Memphis. Photo: Scott Suchman

I see flags, I hear bells, there’s a parade in Memphis. Photo: Scott Suchman

The reasoning behind putting on Aida over any other Verdi opera must be that if you put ancient Egypt onstage, sooner or later you’ll find Tutankhamen’s tomb. It has name recognition value and is a surefire box office reward, but now carries a promise of luxury and extravagance onstage that other operas allegedly don’t have. (Evidence: the man behind be who, before the performance started, asked “Is this the opera about the elephant?”)  Read more »

Conspicuous consumption

On Thursday evening, the Teatro alla Scala audience didn’t watch the familiar presentation of a “wayward woman” who overcomes moral inferiority only to be robbed of happiness when she finally deserved it.  Read more »

Written on the wind

UPDATE: I am now rushing to make a 3:00 flight. Details of the press conference cannot be divulged until 2:00 PM CST. Check back here at parterre for the tidings!   Read more »

Katerina’s insomnia

Throw in a trio of murders and a healthy splash of vodka and you have, more or less, the plot of Shostakovich’s Lady Macbeth of Mtsensk.

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Dwarf star

Verdi’s Macbeth poses a challenge to any company with the audacity to mount it.

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All Sills final

You can tell a lot about someone from their garage sale.

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First steps

There’s something charming and almost irresistible about early Verdi opera. I always equate it to seeing a grade school test from Albert Einstein.

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The little people

As an opera, La Traviata is defined by its characters.

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Questions and antlers

Verdi’s only successful comic opera, Falstaff, is notably hard to produce.

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