Gabrielle Ferrari
Gabrielle Ferrari is a PhD student at Columbia University researching gender and sexuality in British music, twentieth-century opera, and classical music and popular culture. She has degrees in music and English literature from Southern Methodist University and her Masters in Historical Musicology from Columbia University. If she isn't watching opera, writing about an opera, or reading about an opera, she's probably singing opera. When she's feeling a little bit wild, she dabbles in oratorio and musical theater.
The opera The Rake’s Progress, as many people know already, was inspired by a series of engravings and paintings of the same name by William Hogarth, showing the decline of a young man into depravity and insanity.
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The Met brought back 2019 smash Akhnaten last night, with nearly the exact same cast and creative team, and with nearly the same knockout effect of three years ago.
On this past, rainy Thursday, the Orchestra of St. Luke’s delivered a really rather extraordinary performance of the St. Matthew Passion. To me, this evening was a fascinating exploration of work.
Michel van der Aa’s new opera UPLOAD at the Park Avenue Armory explores the various ethical issues surrounding AI while coming back to a set of classic philosophical questions about free will, pain and the nature of the soul.
Has there ever been a more perfect opera to watch after a breakup than Ariadne auf Naxos?
Despite a star-studded cast, last night’s Anyone Can Whistle at Carnegie Hall ultimately failed to take flight.
It’s back to business as usual at the Met, for better and for worse.
The cabaret at Saint Ann’s Warehouse delivered frothy fun and a dollop of pathos with Anthony Roth Costanzo and Justin Vivian Bond in Only an Octave Apart.
With composer Terence Blanchard and librettist Kasi Lemmons‘ incendiary Fire Shut Up in My Bones, the Met makes long overdue history and Will Liverman ascends to superstardom.
The Met recently submitted another eye-roll inducing entry for the Woke Olympics with their Women’s History Month slate.
HERE’s new radio opera marks itself out by leaning into the dramatic affordances of the audio-only format in No One is Forgotten, an adaptation of a play by Winter Miller with new music by Paola Prestini and Sxip Shirey.
Like everyone reading this, I imagine, I’ve missed going to see and hear something in person more than I thought possible.
Happy New Year, dear readers, from me, Callum, and Christine Goerke’s headband-tiara!
Jonas Kaufmann would like you know it’s Christmas. Well, not unlike a broken clock, he is right, at least for one day a year.
Grab a fuzzy robe, a hot toddy, and a Wales guidebook, then sink blissfully into your couch for Bryn Terfel’s Christmas concert for the Met’s Live in Concert Series.
Diana Damrau and Joseph Calleja presented an uneven program in a lavish setting this weekend in the most recent entry in the Met’s concert series.
Lise Davidsen turned in a fine performance Saturday, cementing her up-and-coming star status in an eclectic program given from the Oscarshall Palace in Oslo.
By a margin of more than two to one, the cher public has chosen “O Scarpia, avanti a Dio!” as the greatest of all opera curtain lines.
It’s come down to this: the two finalists in the Best Opera Curtain Line competition.
We move now to the semi-finals of the Best Opera Curtain Line competition.
And now, with your cooperation, cher public, we are about to decide which is the best opera curtain line of all opera curtain lines.
With thanks to commenter Krunoslav for the suggestion, we will kick off our new game with the theme “Best Curtain Line.”
A new series where we pit Zerbinetta against Zerlina, Caballé against Callas, Berg against Bellini in the ultimate operatic showdown.
Lady M, an Online Fantasia on Verdi’s Macbeth, Heartbeat Opera’s creative and thought-provoking foray into the Zoom opera scene, left me feeling alternately pensive, hopeful and somewhat uneasy, in a good way.
