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.
I watched Greta Gerwig’s heartbreaking, gorgeous, joy-filled explosion of an adaptation of Little Women in about the best way one can, sniffling in the dark with my best friend, the closest person I have to a sister.
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I’m only now coming up for air after a night spent wading in the deep, cool, refractory waters of Magdalene, a work of immense, mythic joy and pain wrapped in the details of the ordinary.
Composer Garrett Fisher and librettist Ellen McLaughlin’s Blood Moon wears its themes on its sleeve to great success in this spellbinding new opera.
Zauberland: An Encounter with Schumann’s Dichterliebe touched on themes of forced migration, loss, exile, and dehumanization.
On Site Opera’s Turn of the Screw, an immersive production set in the Bronx’s Wave Hill Gardens, featured mostly good singing and a few directorial and technological missteps.
There were plenty of Turan-do’s and only a few Turandon’ts at the Met’s Turandot Sunday afternoon.
My blood sure boiled at this revival of the Met’s utterly punchable production of Macbeth.
Broadway star Kelli O’Hara stepped out of her comfort zone.
Teatro Nuovo put on a perfectly delightful show on Thursday night.
Stonewall threads some difficult needles with great success overall in this last installment of New York City Opera’s Pride Month Programming.
