Opera from a certain point of view. The best opera magazine on the web. Reviews, breaking news, critical essays, and brainrot commentary on opera from those demented enough to love it.
A faithful parterreian writes: “Recently, I was listening to various performances of ‘Amami Alfredo’ and was struck by the August 29, 1939 Stockholm performance (sung in Swedish) with Hjordis Schymberg and Jussi Björling. After she finishes the passionate outcry, the orchestra, instead of playing Verdi’s agitated three measures of exit music, launches into a grand reprise of the tune of ‘Amami Alfredo’.”
Two questions: 1) Why? and 2) How might this postlude be staged?
James Jorden (who wrote under the names "La Cieca" and "Our Own JJ") was the founder and editor of parterre box. During his 20 year career as an opera critic he wrote for the New York Times, Opera, Gay City News, Opera Now, Musical America and the New York Post. He also raised his voice in punditry on National Public Radio. From time to time he directed opera, including three unsuccessful productions of Don Giovanni. He also contributed a regular column on opera for the New York Observer. James died in October 2023.
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
A faithful parterreian writes: “Recently, I was listening to various performances of ‘Amami Alfredo’ and was struck by the August 29, 1939 Stockholm performance (sung in Swedish) with Hjordis Schymberg and Jussi Björling. After she finishes the passionate outcry, the orchestra, instead of playing Verdi’s agitated three measures of exit music, launches into a grand reprise of the tune of ‘Amami Alfredo’.”
