Patrick Clement James is a writer and teacher based in New York City. His love of opera began in high school, leading to studies in vocal performance at the Manhattan School of Music. He currently studies English literature as a Ph.D. student at the Graduate Center, City University of New York, and he teaches at Brooklyn College. As a writer, he is particularly interested in the ways that opera participates in the larger contexts of history and culture.
Patrick Clement James
Despite a few hiccups, LoftOpera’s Saturday night performance of Rossini’s Otello successfully appealed to the essential kinetic energy of the operatic art form, an aspect that has lain dormant in productions elsewhere in the city this year. Read more »
There is nothing in particular to recommend the Met’s recent performance of Beethoven’s Fidelio, beyond the opportunity to hear the moving, majestic score performed live. Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
The Met’s current production of Verdi’s La Traviata is something of a mixed bag. And nothing embodies this irregular quality more succinctly than the performance of Sonya Yoncheva, who was, last night, at turns both thrilling and inept in the house’s season premiere of the opera. Read more »
Someone—a deranged purist no doubt—heckled Javier Camarena from the balcony of the opera house for withholding the infamous high F during “Credeasi, misera.”
With a cast of stellar singers and uneven direction by Mary Zimmerman, Dvorák’s Rusalka debuts in a new production at the Metropolitan Opera.
Verdi’s Rigoletto returned to the Met Friday in the stilted “Las Vegas” production by Michael Mayer, with mostly competent singing from a good-looking cast.
The Metropolitan Opera’s revival of Carmen began with a bit of drama Thursday night when tenor Rafael Davila replaced Marcelo Álvarez.
Mortality is ugly—it smells, it makes uncomfortable noises, it takes its time; and then there is the overwhelming sense of dread and helplessness.