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.
Although married five times including to the heretofore off-limits Vestal Virgin, he patronized hundreds of prostitutes while also showering political favors on his male lovers.
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Nearly 30 years after a Handel opera last played there, Carnegie Hall presented The English Concert opening a three-year opera-oratorio project on Sunday afternoon with Radamisto.
That’s what it must have been like in 1726 London when Handel composed Alessandro for perhaps the three most famous (and expensive) singers of the day.
Not only cursed to bear a name nearly identical to that of one of the greatest geniuses who ever lived, Leonardo Vinci also had the misfortune to die just three months after the premiere of his greatest opera, reportedly murdered with a cup of poisoned chocolate at the age of 36.
As if last week’s survey wasn’t enough, a few more recent diva-recital disks remain worthy of attention particularly since they arrive from five front-rank singers.
Cecilia Bartoli and Joyce DiDonato are not the only ladies who have recorded recitals this year featuring music from the 17th and 18th centuries.
If you’re the sort who prefers his diva to be an unapproachable sphinx prone to infuriating cancellations while radiating ennui, I suspect that the sunny, hard-working, grateful persona of American mezzo soprano Joyce DiDonato will not appeal to you at all.
Can it be nearly a quarter-century ago that an Italian mezzo-soprano in her early twenties recorded her first recital?
“Is a work an opera simply because its creators choose to call it one?”
After 23 years, the Queen of Carthage has finally made it to Manhattan.
Rule Britannia? Often during the Olympics that famous number from Thomas Arne’s 1740 Alfred echoed in my ears.
Of all the Olympics-related products created to honor the upcoming summer games in London, surely one of the oddest must be a brand new pasticcio just released on a two-CD set
by Naïve—L’Olimpiade.
Sneaking in under the wire during the final week of May were two highpoints of New York’s opera season: the Cleveland Orchestra’s Salome with a stunning Nina Stemme and operamission’s revelatory US stage premiere of a complete edition of Handel’s first opera Almira.
For all his historical importance Christoph Willibald Gluck remains one of the least known and performed of the great opera composers.
It’s hard to think of a rare work by a great composer more tailor-made for a twenty-first century reexamination than Mozart’s Il Sogno di Scipione.
By the end of its 2012-13 season, the Met will have presented four HD transmissions in less than two years featuring countertenors in prominent roles.
Almost exactly one hundred years ago on March 18, 1912, the Metropolitan Opera gave its final performance to date of Armide.
Few singers today cause me as much consternation as Vivica Genaux.
I could feel my face (to say nothing of my spirits) sink as I opened an envelope from La Cieca containing a new Decca CD
to review.
The New Year’s Eve gala at the Met ushering out 2011 was the world premiere of the much-anticipated mash-up The Enchanted Island AKA “baroque opera for those who hate (or at least don’t know) baroque opera.
Many American opera-lovers take the “Grand Tour”—a pilgrimage to Europe to attend opera at its great houses—Peter Grimes at the Royal Opera in London or Otello at La Scala in Milan, or perhaps for the more well-heeled a visit to the summer festivals of Glyndebourne, Salzburg or Aix-en-Provence.
“Hey the line forms, on the right dear / Now that Macheath’s back in town / You’d better lock your doors, and call the law / Because Macheath’s back in town.” So concludes Marc Blitzstein’s famous English translation of the song that opens Die Dreigroschenoper.
Every year New York City opera-lovers eagerly anticipate the autumn because it means that summer is finally over and we can get back to serious opera-going, and this September promises “The Battle of the A’s.”
