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.
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.
There is a moment about 75% of the way through the Rome Narrative where you can almost literally hear Tannhäuser’s stomach turn.
Shortly before Tuesday’s performance of Salome at La Scala, I did something I rarely do: I took a mirror selfie.
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.
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.
In George Balanchine’s Allegro Brillante, the dancers are dancing even before the curtain goes up.
Yuval Sharon at Boston Lyric Opera has brilliantly found an interpretative middle ground for La bohème by presenting the acts in reverse order.
A troika of operas by Rachmaninoff: Aleko , The Miserly Knight and Francesca da Rimini , courtesy of Odyssey Opera.
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.
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.
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.
It’s maybe not a surprise that Carmen is neither a good vocal nor temperamental fit for Isabel Leonard.
She Loves Me can take a beating.
In 2022, making Così fan tutte intimate is not a radical act. Making it enjoyable, however, is.
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.
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.
From an exposure standpoint, Ruth Bader Ginsburg was the best thing to happen to opera since Beverly Sills.
Bay Street Theater deserves enormous credit for transforming Camelot from a clumsy historical epic into a breezy, human fairytale about leaders who cannot lead.
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.
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.
For the weeks between the announcement that the return of Wolf Trap Opera would, in part, take the form of a concert performance of Sweeney Todd and its opening at the Filene Center on Friday evening, I racked my brain: why Sweeney now?
Proudly and vividly on display was Anna Netrebko’s unique and glamorous ability to wear the music like a parade of couture gowns—some more sparkly than others, some a more flattering fit, but all thoughtfully chosen and laced into with care.
Kennedy Center could not have predicted just how aptly Saturday evening’s rescheduled recital of 2020 Marian Anderson Award winner, baritone Will Liverman, would respond to the moment.
Renée Fleming presented a satisfyingly eclectic and quietly daring program of songs and arias, an interesting timestamp on a career that, despite its crepuscular vibe, seems as active as ever.