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.
Awaiting the return of Parsifal to the Met, “Trove Thursday” hops to the other end of Wagner’s oeuvre with a recent Rienzi der letzte der Tribunen.
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Headlining the Met’s current revival of both Cavalleria Rusticana and Pagliacci, Roberto Alagna was operating on all cylinders Monday evening.
Scheming Anne-Sofie von Otter offs her brother and sons before the opera even begins? You bet!
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
“Trove Thursday” celebrates with Carlos Kleiber conducting Johann Strauss, Jr.’s Die Fledermaus.
J.S. Bach doesn’t get a lot of attention on this site although he wrote tons of vocal music.
Hansel and Gretel might just be the best thing the Met has done so far this season.
“Trove Thursday” offers Glinka’s A Life for the Tsar with Albina Shagimuratova, Alisa Kolosova, Dmytro Popov and Gennadi Bezzubenkov.
“Trove Thursday” presents an all-star five-act Don Carlo from forty years ago tonight.
Christophe Dumaux quickly slipped in and out of town this weekend to sing Handel and Vivaldi in a marvelous gala concert with the Sejong Soloists at Zankel Hall.
Sir David McVicar’s inept and dreary new production of Bellini’s Norma proved to be more satisfying than it had been on opening night when it returned to the Met Friday evening thanks to its new leading ladies Angela Meade and Jamie Barton
“Trove Thursday” presents Virginia by Saviero Mercadante starring the Met’s next errant Druid priestess Angela Meade, who has become one of today’s more controversial—even divisive—sopranos.
Usually the longer I know a work the more I look forward to rediscovering it, but that’s just not the case with the Verdi Requiem.
“Trove Thursday” pays tribute to Dmitri Hrovostovsky with a broadcast of his final new role, Rubinstein’s The Demon.
Verdi’s La forza del Destino starring beloved soprano Aprile Millo as Leonora, a role she never performed at the Met.
A wonderfully committed Ailyn Pérez and Gerald Finley at Saturday afternoon’s revival abetted by Emmanuel Villaume’s passionate conducting converted me to a Thaïs believer.
Renée Fleming makes her belated “Trove Thursday” debut as Sandrina in a rare early performance of Mozart’s La Finta Giardiniera.
Another five-Thursday month invites “Trove Thursday” to offer a combo of shorter works.
In Andrea Chenier an unexpected Canadian star-tenor relishes beheading alongside a far less well-known Italian diva: Jon Vickers and Ilva Ligabue.
I was extraordinarily happy Monday evening to encounter Angel Blue and Russell Thomas as Mimi and Rodolfo.
“It’s not easy being green”: especially if you’re the two greatest Italian opera composers.
“Trove Thursday” offers a belated 55th birthday nod to Dmitri Hvorostovsky with a blazing live performance of Rimsky-Korsakov’s The Tsar’s Bride.
For my early self-birthday gift “Trove Thursday” offers a Handel-orgy of rarely done works.
New York fans of 17th century Italian vocal music should be rejoicing this month.
