Eli Jacobson
Are today’s stars enough to sustain Andrea Chénier?
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
This Bard production, led by Leon Botstein, makes the strongest possible case musically, dramatically and visually for Smetana’s opera Dalibor.
La sonnambula at Teatro Nuovo overcomes uneven casting to highlight the many charms of Bellini’s bel canto masterpiece
Eli Jacobson on a luscious evening of early Strauss with Guntram at Carnegie Hall
The Met’s mostly successful revivals of The Queen of Spades and La bohème showcase the returns of Sonya Yoncheva and Corinne Winters
A parade of young singers delight in an intimate Madama Butterfly at Amore Opera
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
The New York Gilbert and Sullivan Players are celebrating their 50th Anniversary Season presenting Ruddigore (last month), The Pirates of Penzance (first two weekends in January), and Iolanthe (on its way in April).
Despite not being very happy with the state of the world (and the union) and not looking forward to the New Year, this past December I took in many festive holiday offerings including a pair of oratorios.
The Richard Tucker Foundation Gala has always been a big annual celebration of the voice with an emphasis on big-voiced singers in big repertoire (not much Wagner usually, though…). Like so many reliable operatic institutions it has struggled for survival after the pandemic.
Lisette Oropesa, a product of the Metropolitan Opera Lindemann Young Artist Program, has not been seen much on the stage of the Met in recent seasons.
Les Contes d’Hoffmann is something of a puzzle in which some of the pieces are missing and others been altered to fit since Offenbach died before he could complete and revise the work.
When the subject of New York City Opera comes up, you always hear the same query: “What happened to City Opera? Are they even performing these days??”
Love makes fools of us all – that seems to be the theme of this summer’s Glimmerglass Festival.
Too young to be in love. But not too young to go to war or to die.
The outdoor recitals that the Metropolitan Opera presents in New York City Parks every summer are a wonderful way to showcase rising young stars and promising beginners from the Met’s Lindemann Program.
On June 11th, the Met Orchestra returned to Carnegie Hall with a diverse program led by music director Yannick Nézet-Séguin.
In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.
Only connect! So sayeth E.M. Forster (via Margaret Wilcox) in Howard’s End.
Hailed as the first opera by an African-American composer performed at the Metropolitan Opera, Fire Shut Up in My Bones was a huge audience and box office hit in the Fall of 2021 when it reopened the Met after two seasons shut down by COVID-19.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
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.
