Cher Public

Christopher Corwin

Christopher Corwin began writing for parterre box in 2011 under the pen name “DeCaffarrelli.” His work has also appeared in Musical America, San Francisco Classical Voice and BAMNotes. Like many, he came to opera via the Saturday Met Opera broadcasts which he began listening to at age 11. His particular enthusiasm is 17th and 18th century opera. Since 2015 he has curated the weekly podcast Trove Thursday on parterre box presenting live recordings.



The quality of mercy

La Clemenza di Tito is lately enjoying unusual prominence with a new production in Los Angeles followed by the Met reviving its venerable Jean-Pierre Ponnelle staging later this month, so “Trove Thursday” offers Mozart’s late opera seria in a Paris “pirate” featuring the high-voltage diva-duo of Anna Caterina Antonacci and Elina Garanca, plus rare glimpses of Janet Baker as Sesto and Joan Sutherland as Vitellia.   Read more »

Down Argentine way

“Trove Thursday” drafts a 1960s All-Star team for Verdi’s Il Trovatore broadcast from the Teatro Colón with Leontyne Price, Fiorenza Cossotto, Carlo Bergonzi, Piero Cappuccilli and, of course, Ivo VincoRead more »

Once in love with Amy

As we await Saturday’s Das Rheingold and the return of the Robert Lepage Ring to the Met with both dread and anticipation, “Trove Thursday” leaps to the end of the cycle with a slightly abridged Götterdämmerung (three hours or so) featuring Amy Shuard as Brünnhilde, a heroic but lesser-known Wagnerian of the 60s and early 70s.  Read more »

The old song and dance

The most disappointing performance in 30 otherwise glorious years of William Christie and Les Arts Florissants visiting New York City.

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Cri du coeur

Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)

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Thousands cheer

Although Gustav Mahler never wrote an opera, his colossal Eighth Symphony “The Symphony of a Thousand” may give us some glimpses of what a Mahler opera might have sounded like

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Kitchen confidential

Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me. 

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Windsor soup

“Trove Thursday” this week features the earliest of the fat-knight operas: Antonio Salieri’s 1799 Falstaff.

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