Because I’m not one of your FANS!
Just in time for this month’s theme of filth or dementia, a review of Terrence McNally‘s Master Class from Central City Opera.
Just in time for this month’s theme of filth or dementia, a review of Terrence McNally‘s Master Class from Central City Opera.
Yuval Sharon‘s production of The Excursions of Mr. Brouček shoots for the moon — and lands somewhat limply on Lake Constance.
Wolf Trap Opera presented a lovely Eugene Onegin with particularly noteworthy performances by Magdalena Kuźma and Daniel O’Hearn.
The Bayerische Staatsoper’s summer festival wound down with Lotte de Beer’s darkly effective production of Gounod ’sFaust.
I sort of have a love/hate fascination with countertenors/male falsettists.
Karina Gauvin slays for the slayed. Werk Bitch.
Zubin Mehta was a major part of musical life when I moved to Southern California in 1969, having started his tenure as music director of the Los Angeles Philharmonic.
It’s a busy summer for Vida Miknevičiūtė and Eric Cutler, the subjects of this week’s Grand Tier Grab Bag.
It’s a busy summer for Vida Miknevičiūtė and Eric Cutler, the subjects of this week’s Grand Tier Grab Bag.
Elina Garanča’s aborted first Ariadne may have been the headline item at the Salzburg Festival next month, but this week Parterre Box features the Zerbinetta, Ziyi Dai.
One Italian soprano continues to save the day in bel canto roles at La Scala; this week Parterre Box features Marta Torbidoni.
Ambur Braid‘s biggest dramatic soprano assignment yet — the Dyer’s Wife in Aix — is occasion for Parterre Box to feature her in some of her old repertoire.
Grand Tier Grab Bag features the American Zwischenfach mezzo Irene Roberts ahead of an eclectic season of Wagner.
Parterre Box shines a light on Liparit Avetisyan, who made his Met debut as Alfredo earlier this spring.
It is no wonder Bernard Herrmann relishes the wistful lyricism in Barber’s masterwork, as Herrmann’s score for Vertigo is among the most beautiful and haunting of all film scores ever composed.
Lorenzo Molajoli is a mysterious figure.
Jake Heggie and Gene Scheer‘s bubbly The Judgement of Paris brings a distinctly Californian terroir to operatic comedy.
I sort of have a love/hate fascination with countertenors/male falsettists.
Karina Gauvin slays for the slayed. Werk Bitch.
Zubin Mehta was a major part of musical life when I moved to Southern California in 1969, having started his tenure as music director of the Los Angeles Philharmonic.
It is no wonder Bernard Herrmann relishes the wistful lyricism in Barber’s masterwork, as Herrmann’s score for Vertigo is among the most beautiful and haunting of all film scores ever composed.
Lorenzo Molajoli is a mysterious figure.
Tobias Picker and Aryeh Lev Stollman‘s Lili Elbe receives its first recording ahead of its stateside transition.
Based on exactly one recording, Maurice Abravanel is my favorite opera conductor.
Les Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
Cher public is exhorted to join the Geplauder when the annual week of broadcasts from Bayreuth begins on Saturday
I trust, fellow Parterre readers, that we can all agree that Riccardo Muti is a great opera conductor.
While it may not be top-tier Rossini, Teatro Nuovo’s mounting of Il turco in Italia is still good summer fun.
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