Miss Right
A particularly delectable treat from the Mike Richter trove: Wolfgang Sawallisch conducts a 1985 performance of Arabella at the Bayerische Staatsoper, featuring Lucia Popp and Wolfgang Brendel.
La Cieca
James Jorden (who wrote under the names "La Cieca" and "Our Own JJ") was the founder and editor of parterre box. During his 20 year career as an opera critic he wrote for the New York Times, Opera, Gay City News, Opera Now, Musical America and the New York Post. He also raised his voice in punditry on National Public Radio. From time to time he directed opera, including three unsuccessful productions of Don Giovanni. He also contributed a regular column on opera for the New York Observer. James died in October 2023.
City of dreams
With issue #42a, “City of Dreams,” parterre box the queer opera zine returns at least temporarily to a rational numbering system.
In solitaria stanza
La Cieca alerts the cher public to be on the lookout for discounts and downright giveaways for the upcoming Vittorio Grigolo recital at the Met.
The beautiful glass is empty
“Juliane Banse will make her Met debut as Zdenka in this season’s performances of Strauss’s Arabella, replacing Genia Kühmeier, who has withdrawn for personal reasons.”
La “Fille” mal gardée
“Natalie Dessay de retour dans la Fille du Régiment“
Kate Royal, Toby Spence ink 10-year Met deal
“Robert Rattray, who has long experience in artist management, has been appointed the Met’s next assistant general manager for artistic affairs, replacing Sarah Billinghurst, who will retire at the end of this season after two decades at the Met, the company announced Tuesday.”
By La Cieca
“Opera stars clash over our judgment”
“The article was written before Mme. Tetrazzini’s arrival,” continued Miss Garden yesterday.
Ah, je les écoute sans cesse
For your racionative pleasure, cher public, here’s an epistolary quiz in honor of the Met’s new production of Werther: 13 artists share Charlotte’s “Ces lettres! Ces lettres!” scena from Massenet’s opera.
Das waren die Freimaurer! Ich hab’s! Die Freimaurer!
“Unexpected conflicts and complications have occurred in Mr. Hampson’s schedule as he prepares the title role in the Metropolitan Opera’s production of Wozzeck.”
Diva of Détente
Our Own Jungfer Marianne Leitmetzerin (not pictured) takes us back to the turbulent 1970s at the Met for the spectacular company debut of electrifying Elena Obraztsova as Amneris.
Easy as falling off a loge
No effort is required, cher public, to enjoy a discussion of off-topic and general interest subjects.
Kingdom of the blind item
If there is truth in this rumor, which New York opera company will attempt a renaissance this summer with a revival of an operatic rarity, though likely without the magnificent cast the conductor assembled for his recent recording of the same work?
Hoop dreams
This Clemenza di Tito today is something of a wild card: an offbeat cast, the relative newbie opera director Jan Bosse and the exciting conductor Kirill Petrenko. If you’re intrigued, here’s the webcast starting at 1:00 pm.
Vieni a mirar la cerula
More Verdi from the Mike Richter collection, this time from CD-ROM SFO-02, a performance of Simon Boccanegra featuring Ingvar Wixell and Kiri Te Kanawa.
Metropolitan Opera 2014-2015
Here you are, cher public, details of the Met’s (to be perfectly frank) not particularly spectacular mid-decade season.
It’s today!
La Cieca’s spy informs her that the Met will announce its 2014-2015 “Wednesday evening.” Watch parterre.com starting at 4:00 pm tomorrow for up-to-the-minute coverage.
Recklessly passionate
Before you ask, cher public, there is no Issue #41 of parterre box, the queer opera zine, or, rather, this issue, #42 is the 41st.
My knapsack on my back!
Cher public, I give a photograph of Jonas Kaufmann in a hoodie with a teeny birdie on his shoulder.
There’s no business like Mary business
“We Americans are not so critical of art as we are of showmanship.”
Slavas of New York
Even when the opera performed is a masterpiece, a truly superb opera performance is exceedingly rare.
Je suis heureuse ici
This week, Jungfer Marianne Leitmetzerin has been unusually generous, sharing a performance of Pelléas et Mélisande featuring the dream pairing of Simon Keenlyside and Lorraine Hunt Lieberson.
Play ball
An opera house is good for other things besides opera performances, cher public, such as (for example) discussion of off-topic and general interest subjects.
“Oh how I sympathize with King Canute!”
Norman Lebrecht, who is now actively trying (and failing) to destroy classical music—and why not: look how cruelly the industry has treated him!—has published a “review” from a “critic” who walked out of a three-act opera after the first act.