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.
Washington National Opera’s lukewarm Alcina, unthreateningly misguided in both its musical and theatrical values, made little impact.
By Harry Rose
How on Earth will these fictitious luminaries of turn-of-the-century Swedish society keep their clothes clean?
By Harry Rose
On Thursday evening, the Teatro alla Scala audience didn’t watch the familiar presentation of a “wayward woman” who overcomes moral inferiority only to be robbed of happiness when she finally deserved it.
By Harry Rose
Greetings from the Windy City, where I, Opera Teen (not pictured) am at the press conference eagerly awaiting the announcement of Lyric Opera of Chicago’s 2016-2017 season!
By Harry Rose
Throw in a trio of murders and a healthy splash of vodka and you have, more or less, the plot of Shostakovich’s Lady Macbeth of Mtsensk.
By Harry Rose
Verdi’s Macbeth poses a challenge to any company with the audacity to mount it.
By Harry Rose
You can tell a lot about someone from their garage sale.
By Harry Rose
There’s something charming and almost irresistible about early Verdi opera. I always equate it to seeing a grade school test from Albert Einstein.
By Harry Rose
As an opera, La Traviata is defined by its characters.
By Harry Rose
Verdi’s only successful comic opera, Falstaff, is notably hard to produce.
By Harry Rose
