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.
Sunday’s Richard Tucker Gala at Carnegie Hall was unusually satisfying despite a less than usually superstarry line-up.
Trove Thursday presents Michael Fabiano in one of his specialties as the dashing hero of Il Corsaro torn between Tamara Wilson and Nicole Cabell.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
Gluck’s sublime Orfeo ed Euridice makes a welcome return to the Met.
Trove Thursday presents Spontini’s Olimpie, featuring the seemingly mismatched pairing of Pilar Lorengar and Fiorenza Cossotto.
“Trove Thursday” presents for the third annual installment of “Handel for my Birthday” a wickedly ideal Felicity Palmer dominating Agrippina.
When I first heard of this broadcast my thought was to save it to celebrate Jessye Norman‘s 75th birthday in 2020.
I can’t think of an opera this year that I’ve enjoyed as much as Tuesday’s Met Macbeth, thanks especially to the smashing house debut of Italian soprano Anna Pirozzi as its blazing Madame M.
Erwartung and Bluebeard’s Castle returned to Lincoln Center Thursday night in a musically scintillating if theatrically mild double-bill by the New York Philharmonic.
Starring Jamie Barton, Orfeo ed Euridice returns to the Met next month for the first time in more than a decade so “Trove Thursday” offers two complete live versions of Gluck’s masterwork.
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
“Trove Thursday” offers Offenbach’s irreverent La Belle Hélène featuring the beauteous Véronique Gens.
“Trove Thursday” presents Purcell’s remarkably concise Dido and Aeneas in a pair of fascinatingly different interpretations.
Trove Thursday presents Rameau’s deliciously exotic omnibus Les Indes Galantes.
“Trove Thursday” remembers the company’s very first Lady Macbeth via Leonie Rysanek’s NYC debut in a concert performance of Verdi’s Shakespeare masterpiece less than a year before her first Met appearance.
“Trove Thursday” escapes to an exotic place with Rimsky-Korsakov’s Sadko.
Bard SummerScape’s concert staging of Die Tote Stadt emerged triumphant thanks to Clay Hilley and Sara Jakubiak.
“Trove Thursday” turns to a quintet of baritone/bass voices: Matthias Goerne, Simon Keenlyside, Georg Nigl, Thomas Quasthoff and René Pape performing works by Pfitzner, Sibelius, Adams, Martin and Schubert.
“Trove Thursday” features its two favorite baritones in a pair of comforting settings of the Requiem.
Beauteous Trinidadian soprano Jeanine De Bique appeared Sunday afternoon with the visiting Budapest Festival Orchestra under Ivan Fischer.
“Trove Thursday” presents a complete Prodanà Nevesta (aka Die Verkaufte Braut, of course) by Smetana plus extended excerpts from a broadcast of Spontini’s La Vestale in its rarely heard original French version.
The aphorisms projected before each act of Das Wunder der Heliane suggested the work concerns the transformative power of love—but does it really?
“Trove Thursday” presents a broadcast of Benvenuto Cellini (in English) starring Berlioz tenor par excellence Michael Spyres as the flamboyant goldsmith.
Tell us: What was the best of 2025?
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.
