Harry Rose
Harry Rose, based in Providence, Rhode Island, is currently pursuing a PhD in Italian Studies at Brown University. Starting out blogging independently as Opera Teen in 2013, he holds the auspicious distinction of being the youngest writer to ever contribute to parterre box (at age 14) and has had the pleasure and challenge of writing for the rigorously discerning cher public since 2012. Increasingly niche hobbies and interests include opera, ballet, theatrical goings-on of the fin-de-siècle, and gatekeeping Camp.
Phil Chan described his point of departure for reimagining Orientalist works as the question, “what else could this be?”
By Harry Rose
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Before rehearsals for Madama Butterfly started, Phil Chan sat down with the box to chat about his production, opera’s cultural appropriation problem, and why the last thing he’s trying to do is cancel Puccini.
By Harry Rose
If sex sells, then the 40 years of success for Evita show that the strawman construction and vicious takedown of an unsexy, supremely unlikable woman in just under two-and-a-half hours is just as viable a quantity.
By Harry Rose
In Boston Lyric Opera’s production of Bartók’s Bluebeard’s Castle, which closed on Sunday after a nearly sold-out run—there are no doors.
By Harry Rose
I can’t imagine anything more anxiety-inducing than being put in at last-minute to sing a role in a high-profile production at the Met.
By Harry Rose
There is a moment about 75% of the way through the Rome Narrative where you can almost literally hear Tannhäuser’s stomach turn.
By Harry Rose
Shortly before Tuesday’s performance of Salome at La Scala, I did something I rarely do: I took a mirror selfie.
By Harry Rose
Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.
By Harry Rose
All things were, indeed, made new again, when Boston’s venerable Handel & Haydn Society brought Mozart’s Le nozze di Figaro to the stage, their first time doing so in its entirety, as their 2,576th concert on Thursday.
By Harry Rose
In George Balanchine’s Allegro Brillante, the dancers are dancing even before the curtain goes up.
By Harry Rose
Yuval Sharon at Boston Lyric Opera has brilliantly found an interpretative middle ground for La bohème by presenting the acts in reverse order.
By Harry Rose
A troika of operas by Rachmaninoff: Aleko , The Miserly Knight and Francesca da Rimini , courtesy of Odyssey Opera.
By Harry Rose
This Traviata remained firmly Beltway-bound and by the time I had gotten home, the 45-minute traffic jam to leave the parking lot was eminently fresher in my mind than the evening’s performance.
By Harry Rose
Director R.B. Schlather deftly walks a porous boundary, casting this primordial paroxysm of Germanness as a dialogue between its naïve and moralistic narrative with its outsized legacy.
By Harry Rose
The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.
By Harry Rose
It’s maybe not a surprise that Carmen is neither a good vocal nor temperamental fit for Isabel Leonard.
By Harry Rose
She Loves Me can take a beating.
By Harry Rose
In 2022, making Così fan tutte intimate is not a radical act. Making it enjoyable, however, is.
By Harry Rose
The Kennedy Center’s Opera House was a white-hot crucible of theatre kid energy on Friday evening for a luxurious 50 Years of Broadway at the Kennedy Center gala.
By Harry Rose
While the formulaic nature of some of Rossini’s other operas can undermine his ability to balance bravura singing and playing with legitimate drama, a concert Maometto II proves, with what it offers as much as what it lacks, that the formula still works.
By Harry Rose
From an exposure standpoint, Ruth Bader Ginsburg was the best thing to happen to opera since Beverly Sills.
By Harry Rose
Bay Street Theater deserves enormous credit for transforming Camelot from a clumsy historical epic into a breezy, human fairytale about leaders who cannot lead.
By Harry Rose
Concerts at Wolf Trap, mixed bags in more ways than one, provided fleeting glimpses of the old normal as moments of frisson mingled with more familiar monotony.
By Harry Rose
Pauline Viardot‘s Cendrillon hews closer to the Perrault original than either Rossini or Massenet’s more familiar retellings and is dainty in conception as a salon opera for her students.
By Harry Rose
