Jon Taylor
The mixture of romance and realism in Sondheim songs, the revelation that while love could be grand and passionate it could also be mundane or inconvenient or mistimed or just plain embarrassing, was such a relief.
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parterre box is launching a new themed regular feature curated by our readers and opera fans across the world! We are asking for your favorite clips, recordings, and anecdotes to get people chatting, listening, and thinking.
I’ve got some new software and messing around with it today I had the insane notion that a vocal ID quiz featuring the Rosenkavalier trio might be fun.
I am embarrassingly bad at vocal ID quizzes—I may never get over the one where I was convinced every single excerpt was Leontyne Price—but I do love to put them together.
An image of the old, ruined Coventry Cathedral goes into closer and closer focus until the stage is dominated by a grassy stone.
Like most directors of this opera this century, David Alden is keen to outline the helplessness of women in the face of 19th century patriarchy.
Stefan Herheim productions may be many things, but they’re always theatrical.
It’s perhaps because Puccini is the master of operatic pathos that Tosca has proved so hard for people to get a handle on.
Nico Muhly has set himself the task of presenting Winston Graham’s elusive heroine Marnie on the operatic stage.
“Semiramide—a better opera than this dude expected!”
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