Eli Jacobson
Philippe Jaroussky mentioned introducing his encores that he has not appeared in New York in 12 years.
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.
Sondra Radvanovsky has an unconventional voice that is suited to unconventional characters and is best used in rangy, difficult music. The lack of lush beauty was no deficit in depicting Medea’s jealousy and vengeful rage.
The New York City Opera has become an elusive “now you see it, now you don’t” presence in the New York opera scene since the departure of main sponsor and chairman of the board Roy G. Niederhoffer in 2019.
The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.
The elusive La dame blanche returned for one evening to New York City on May 28 thanks to the New Amsterdam Opera led by maestro Keith Chambers.
Pavarotti and Freni are gone but the Franco Zeffirelli Bohème remains.
Joyce DiDonato admits that she is “a problem solver, a dreamer, and—yes I’m a belligerent optimist.”
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
The Boston Symphony and Alban Berg’s “Wir arme Leut” spread musical riches at Carnegie Hall.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
In the last weeks of January, as the Metropolitan Opera season wound to a close (prior to the winter hiatus) two striking sopranos were thrust into the limelight.
Part vaudeville, part opera concert and part drag ball, Heartbeat Opera’s pageant was like a cup of eggnog spiked with a dash of LSD.
Teatro Grattacielo presented two visions of love’s magic on November 13 and 14—one via Spain and Argentina (in collaboration with Opera Hispánica) and the other via Alsace by way of Italy.
In an era when the Metropolitan Opera cannot cast an Aida, Trovatore or Forza consistently, New Amsterdam Opera managed to cast large, attractive and fully technically capable voices in all the cruelly demanding principal roles in I Vespri Siciliani!
