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.

Nel puzzo nel giardino Nel puzzo nel giardino

A new opera company in Hell’s Kitchen is preparing for its first performances of Tosca – and it’s putting the experience of chronic illness front and center.

Not a Marietta Not a Marietta

We are a nostalgic sort, we opera lovers. Fortunately, Korngold’s Die tote Stadt, which arrived in concert form to Boston’s Symphony Hall last weekend, is all about nostalgia.

Meninas and meninos Meninas and meninos

Despite the practically unmitigated fiasco of the last Verdi concert opera performance seen in Boston, I approached Sunday’s Boston Youth Symphony Orchestras performance of Don Carlo at Harvard’s Sanders Theatre with much more optimism.

Trick mirror Trick mirror

A recent conversation with a friend who has loved Die Frau ohne Schatten for twice as long as I have been alive revealed that we both had some unresolved questions about the plot.

On an evening in Roma On an evening in Roma

After an uneven gala performance of Tosca on Tuesday, I’m not sure what the Met means by “celebrating Puccini.”

<em>Aïda</em>, harder not smarter <em>Aïda</em>, harder not smarter

With Boston Lyric Opera’s largest opera production of the season already well behind us, the one-off semi-staged gala performance of Aïda held on Sunday at Emerson College’s Colonial Theatre to support the company’s vast education and community engagement apparatus, was a particularly enticing entry on the Boston cultural calendar.

The flip side of filth The flip side of filth

To the extent that singers should be considered stewards of their repertoire, equating bad singing to whatever “verismo” is will only be to the detriment of verismo.

Green grow the lilacs Green grow the lilacs

Eastern Long Island remains surprisingly verdant even into the early fall.

Acting is rè acting Acting is rè acting

Boston Lyric Opera’s shows, of late, are often going to war with their texts.

Bordering on offensive Bordering on offensive

Does Diane Paulus really have no better ideas?

If you’re going through hell If you’re going through hell

The rule that governs Dante’s Inferno is called the “contrapasso” – that every sinner is given a punishment in poetic proportion to their crime.

Christmas in July Christmas in July

Not too long ago, Benjamin Bernheim gave an interview to Opéra Magazine in which he stated “Je ne suis pas un top model.”

Hiding in plain sight Hiding in plain sight

An air of discovery pervaded the first New York presentation of La ville morte much the way that it pervades the opera’s plot itself.

The voice of spring The voice of spring

“I come, I come! ye have called me long;

I come o’er the mountains, with light and song”

Dancing at the edge of the world Dancing at the edge of the world

Puccini’s schmaltziest, most melodic, most dramatically limp, most cynical, most obscure mature work

The artist is present The artist is present

And is this ‘Orpheus’ in the room with us right now?

Opening doors Opening doors

Real estate is hot along the Acela corridor right now: as proof, Judith will have toured at least three castles in New York and Boston between this spring and last.

That with music loud and long That with music loud and long

The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.

Let the children come to me Let the children come to me

It says something about Boston’s opera scene that one of the most consistently ambitious events of the opera season is a one-off performance played by the Boston Youth Symphony Orchestras.

Singin’ through the sunshine Singin’ through the sunshine

Julia Bullock seems to fission herself multiple times over during the course of her newest, widely ranging recital program.

The music seemed to come from afar The music seemed to come from afar

New York shall never be in need of another Messiah to assist to during the holiday season, but a new tradition is beginning to crystallize at the cavernous St. John the Divine to rival it.

Ashes to ashes Ashes to ashes

Gioachino Rossini’s adorable adaptation of Cinderella famously dispenses with a slipper in favor of a bracelet to lead the Principe Ramiro back to his Cenerentola. If only this performance had benefitted from such a glittering guiding hand.

Float like a butterfly Float like a butterfly

Phil Chan described his point of departure for reimagining Orientalist works as the question, “what else could this be?”

It has to be more than that It has to be more than that

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.