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.
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.”
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Noticing how often she turns up lately, one might guess that the operatic “heroine” for the global economic crunch is Medea, the mythological Greek sorceress and filicide.
Joyce DiDonato enjoys the rare cachet of having three studio-recorded operas released in the past three years while other famous divas must be content with “just” DVDs. Although two of Renée Fleming’s Violettas have found their way onto video in less than five years (why??), “the people’s diva” has only recorded one studio opera in…
Scanning this summer’s Mostly Mozart schedule one wondered if New York really needed another Don Giovanni right now? And one with a non-starry cast where the best-known name was the Commendatore, Kristinn Sigmundsson?
While major stars like René Pape and Piotr Beczala had to wait until they were over 40 to record a solo aria CD, Julia Lezhneva has just done her first—and she’s only twenty-one! After a drought, CD companies are issuing a surprising number of debut recitals; Nino Machaidze, Olga Peretyatko, Mojca Erdmann, and Aleksandra Kurzak…
Despite baby-steps over the years, America’s musical scene, especially opera, remains decidedly un-HIP. (HIP: “historically-informed performance,” also called “period performance.”) While European opera houses turn increasingly to “original instrument” orchestras and specialist singers for seventeenth and eighteenth century works, this rarely occurs in the US.
Other than binging on seven or eight Agatha Christie novels in seventh grade, I can’t recall ever again reading another mystery novel, or what they now call “crime fiction.” Perhaps it’s a coincidence but around that same age I attended my first opera and began subscribing to Opera News. Hence, Commissario Guido Brunetti, hero of…
This Cleofide must have been conceived as a perfect target for haters of Italian baroque opera. While many might (grudgingly?) acknowledge that Handel is indeed an important operatic composer, here we have a virtually unknown name often relegated to dusty music history books. Not only has no one ever heard (nor probably even heard of)…
