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.
The unevenly-beating Heart unfortunately proved less than the sum of its deluxe parts.
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.
This year as part of Bard’s “Puccini and His World” festival audiences may witness the resurrection of Mascagni’s distinctly odd Iris.
Thanks to the generosity of a parterre reader, “Trove Thursday” presents a rare recording from the famed Carnegie Hall series curated by Matthew Epstein to commemorate Handel’s tercentenary.
“Trove Thursday” presentsFerdinando Paër’s 1804 Leonora ossia L’Amore coniugale.
If you were in New York on July 7, 1975 chances are you were at the Met reveling in the visiting Bolshoi Opera’s Eugene Onegin.
This Sunday marks the 10th anniversary of the death of Lorraine Hunt Lieberson from breast cancer.
Trove Thursday” presents Béatrice et Bénédict in a 2009 performance featuring Joyce DiDonato and Charles Workman and conducted by Sir Colin Davis.
An extraordinarily rich variety of opera happens locally, under the umbrella of New York Opera Fest.
Genia Kühmeier, Christian Gerhaher and Phyllis Bryn-Julson performing works by Richard Strauss, Mahler and Berg.
I realized I hadn’t yet posted anything featuring one of the “Queens of the Bootlegs,” so I now correcting that with Puccini’s La Fanciulla del West starring the great Magda Olivero as Minnie.
LoftOpera offered an unusually satisfying, immensely entertaining production of Rossini’s scintillating portrait of an inveterate seducer.
“Trove Thursday” steps in with one of René Jacobs’s favorite and rarest rediscoveries, Francesco Conti’s marvelous Don Chisciotte in Sierra Morena from 1719.
I can scarcely remember a performance where so many conflicting thoughts raced through my mind as happened Thursday night during the Met Orchestra’s “bleeding chunks” of Wagner’s Ring at Carnegie Hall.
Fosca, finalmente mia!
Sunday afternoon’s all-Richard Strauss concert served as a de facto commemoration of the 25th anniversary of the debut of Renée Fleming, long one of the house’s biggest stars.
“Trove Thursday” presents Sena Jurinac‘s radiant portrayal of Janacek’s Jenufa opposite the implacable Kostelnicka of Martha Mödl.
While D.C. Wagnerians wait for Nina Stemme’s Brünnhilde to arrive next week, “Trove Thursday” presents the erstwhile Valkyrie of another compelling diva: Anna Caterina Antonacci as Brunehild, the heroine of Ernest Reyer’s Sigurd, a French grand opera also based on the Nibelungenlied.
“Trove Thursday” presents two star countertenors in a beguiling all-Purcell program from 2010.
A semi-staging of Dido and Aeneas starring Broadway divas and frequent collaborators Kelli O’Hara and Victoria Clark seemed a screwy idea at best.
“Trove Thursday” presents Jonas Kaufmann‘s only performance (thus far) of Max in Weber’s Der Freischütz.
The no-star, slapstick revival of John Dexter’s 37-year-old production of Mozart’s Die Entführung aus dem Serail that opened Friday night proved James Levine’s tenure as Music Director of the Met will end in two weeks with neither a whimper nor a bang.
“Trove Thursday” salutes the Czech soprano Gabriela Benacková with a rare broadcast of Robert Schumann’s only opera Genoveva in which she sings the title role.
I was, to my astonishment, quite bored.
The haunted Mycenae of Patrice Chéreau’s enthralling production of Richard Strauss’s Elektra had seized its viewers in an unrelenting vise that never relaxed even at its quietly shattering conclusion.
