Eli Jacobson
The past seems to be in conversation with the present.
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.
Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
parterre box is excited to present again Mike Richter’s collection of recordings of Rose Ader along with this biographical tribute in honor of a significant artist whose Jewish identity perhaps prevented her from achieving the renown she deserved
As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
Aristophanes’ The Frogs is a comedy with a lump in its throat – laughter coming from tears.
To get right to the point, the performance did not come together despite some good elements and was a major missed opportunity.
On October 20th, a wet but warmish Friday night, the Metropolitan Opera opened this season’s revival of Verdi’s Un Ballo in Maschera in David Alden’s 2012 production.
One got a sense that the Met and the maestro directed most of the rehearsal and preparation toward the opening night premiere of the Heggie opus
In the case of this summer’s resuscitation project at the Bard Summerscape Festival, Camille Saint-Saëns’ Henri VIII , it was quite evident that this is a dramatically sound work with consistently well-crafted, theatrically vital and attractive music that provides at least three roles for gifted singing actors.
Teatro Nuovo took a spirited journey of rediscovery into the valley of forgotten operas and resurrected Federico and Luigi Ricci’s 1850 opera buffa Crispino e la Comare last Thursday at the Rose Theater at Jazz at Lincoln Center.
It was thrilling to see and hear Will Crutchfield’s insights come to life onstage in performance when Teatro Nuovo performed Poliuto at the Rose Theater at Jazz at Lincoln Center Wednesday July 19.
From Christian martyrs to naughty fairies, Teatro Nuovo will explore the tragic and comic sides of 19th century Italian Opera.
On June 20, a rather breezy, pleasant cool summer evening, the soprano Gabriella Reyes, tenor René Barbera and baritone Will Liverman took over the Summerstage space with a wide-ranging, ambitious recital program with Dimitri Dover tickling the ivories.
The wicked poisoner showed herself in fine form, full of purple passion and lusty music-making that would gladden the heart of any bel canto enthusiast or opera lover in general.
Old opera productions at the end of their performing life can be sad affairs.
Richard Strauss’ “Bucolic Tragedy in One Act” Daphne is one of his most beautiful and most frustrating works.
Angel Blue‘s refulgent, lush soprano blooms as Violetta’s vocal lines broaden and soar.
On paper, the Met’s revival of L’elisir d’amore looked like a lovely evening. And at times it was—a few scenes hinted at what it could be and what it might yet become.
The first time I heard of Ermonela Jaho it was as the ultimate understudy. In the aughts it seemed that every time Angela Gheorghiu or Anna Netrebko or whoever canceled, Jaho was standing by.
Show business fables often involve an ambitious, if naïve, ingenue (male or female) desperate for fame. This young wannabe finds fame and fortune: but it comes at a cost.
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
The revival of Don Carlo(s) which opened on November 3 restored the translated Italian text and the cut 1882 four-act revision not seen at the Met since Rudolf Bing’s last season in 1972.
The pandemic had different effects on different people.
Why did Ted Sperling and MasterVoices choose to perform an old warhorse like Carmen which has been produced almost continuously over decades just up the street at Lincoln Center?
