Christopher Corwin
Christopher Corwin began writing for parterre box in 2011 under the pen name “DeCaffarrelli.” His work has also appeared in , The New York Times, Musical America, The Observer, 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.
“Trove Thursday” this week features the earliest of the fat-knight operas: Antonio Salieri’s 1799 Falstaff.
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A double-barreled “Trove Thursday” birthday salute to Renée Fleming who turns 60 today.
Handel’s Radamisto returned to New York when Opera Lafayette movingly performed this early masterpiece.
“Trove Thursday” offers a broadcast of the French baroque tragédie en musique Alcyone by Marin Marais.
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
I was shocked to realize I hadn’t seen Don Giovanni at the Met since Michael Grandage’s stultifying production opened in 2011.
For the conclusion of its tribute to the late Montserrat Caballé, “Trove Thursday” offers Dvorak’s Armida.
Iolanta was crowned on Thursday evening by Sonya Yoncheva’s haunting portrayal of the blind title character.
A 1985 broadcast of Don Giovanni featuring Cheryl Studer, Gundula Janowitz (as Elvira!), Krisztina Laki, Gösta Winbergh, Hermann Prey (in a rare outing as the Don) and Malcolm King conducted by Jeffrey Tate.
Although she didn’t sing that eponymous song by Reynaldo Hahn at Weill Recital Hall Thursday evening, Sabine Devieilhe did offer an “exquisite hour” of early 20th century French songs.
If I had to live with just one Tchaikovsky opera, it would be Iolanta.
When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.
“Trove Thursday” offers a recent broadcast of one of his best-known but rarely performed operas, Il Mitridate Eupatore.
Though barely a week old, 2019 has already provided New Yorkers with an essential, breathtaking music drama focusing on two women struggling for their very survival.
Claude Debussy wrote a number of large-scale vocal/choral pieces two of which are featured today on “Trove Thursday”: La Damoiselle élue and Le Martyre de Saint Sébastien.
Use bodily force and get your friends to one of the next five performances of the Met’s new production of Adriana Lecouvreur. It is everything!
We close 2018 with Le Comte Ory with an enviable nearly all-Italian cast of prime-time Rossini specialists: Mariella Devia, Cecila Bartoli, Ewa Podles, William Matteuzzi, Claudio Desderi and Pietro Spagnoli.
Heretofore I’d avoided the Met’s abridged, English-language holiday presentations.
Humperdinck’s Hänsel und Gretel in an unusual broadcast conducted by Herbert von Karajan featuring Sena Jurinac and Elisabeth Schwarzkopf as the mischievous pair—performing in Italian!
French early music group Ensemble Correspondances offered two of the year’s very best concerts.
The long evening didn’t achieve the degree of celebration it should have.
Here’s a quick sprint through some recent (and a few maybe not-so-very-recent) Handel CDs that have been stacking up.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
L’Arlesiana in a vibrant live performance from a dozen years ago with Giuseppe Filianoti, Latonia Moore and Marianne Cornetti.
