Patrick Clement James

Patrick Clement James is a writer and teacher based in New York City. His love of opera began in high school, leading to studies in vocal performance at the Manhattan School of Music. He currently studies English literature as a Ph.D. student at the Graduate Center, City University of New York, and he teaches at Brooklyn College. As a writer, he is particularly interested in the ways that opera participates in the larger contexts of history and culture.

Like a prayer Like a prayer

It was quite a pleasure—a privilege, really—to see John Dexter’s legendary production of Poulenc’s Dialogues des Carmélites.

Jest you, jest me Jest you, jest me

Friday night’s Rigoletto at the Metropolitan Opera revealed once again a predictable dissonance between the performances on stage and Michael Mayer’s production.

Strangers in the night Strangers in the night

One needs liberty in order to be a libertine.

Oh my goddess! Oh my goddess!

Die Walküre crystallizes the cycle’s questions, ideas, and stakes.

Domino theory Domino theory

The Metropolitan Opera delivers on the promise of Wagner’s Gesamtkunswerk in a revival of Robert Lepage’s Ring.

Exactly the kind of boy he had always wanted to be Exactly the kind of boy he had always wanted to be

UrbanArias’ recording of Paul’s Case is an antidote to the intellectual pretensions that regularly drag contemporary opera performance toward tediousness and boredom.

Skeleton key Skeleton key

Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle both use themes of vision and revelation to ask compelling questions about knowledge, responsibility, and gender. 

Discomfort zone Discomfort zone

Roberto Alagna’s physical and vocal embodiment of Don José lent his particular narrative a complication I hadn’t anticipated.

Shrieking violet Shrieking violet

Diana Damrau‘s performance as Violetta was the work of a very ordinary artist, one susceptible to vocal flubs, poor intonation, and an all too banal approach operatic performance.

War horses War horses

The proceedings took the virtue of longevity too much to heart; the night stretched on interminably. 

Atonement Atonement

Sondra Radvanovsky changed my opinion of her through a single performance—I’ll never think of her the same way again; the power of her singing overwhelmed my previous impressions.

Bland date Bland date

With a program of Schumann, Wagner, Ravel and de Falla, mezzo-soprano Elina Garanca and pianist Kevin Murphy delivered a underdone performance at Carnegie Hall on Tuesday night.

American beauty American beauty

It’s surprising to read that, as of this writing, La fanciulla del west has only had 105 performances at the Metropolitan Opera.

Mortal raises veil from before goddess’s face Mortal raises veil from before goddess’s face

Anna Netrebko is the greatest performing artist singing opera today. Nobody else comes close; she makes me love her in a way that verges on the erotic.

Painful progress Painful progress

Many lessons surface in Tony Kushner’s epic Angels In America: A Gay Fantasia on National Themes.

Speaking ill of the dead Speaking ill of the dead

Plácido Domingo’s conducting reduced the score’s urgency to the lethargy of a jellyfish.

The perfect use of an imperfect medium The perfect use of an imperfect medium

Carousel is receiving a Broadway revival in a simple, cautious production that still manages to pack an emotional wallop.

I want magic I want magic

Why, only now, Cendrillon is having its premiere at the Met is a puzzling question.

Cabal me by your name Cabal me by your name

It’s fortunate that the Met’s production of Luisa Miller featured the incomparable Piotr Beczala in the role of Rodolfo.

Italian dressing Italian dressing

Lucia di Lammermoor, a bloody story of a young woman’s mental degeneracy amidst feuding families, remains Donizetti’s most popular exploration of the landscape and culture of Britain.

The help The help

As Despina in the Metropolitan Opera’s new production of Così fan tutte, Kelli O’Hara injects much needed vitality into an otherwise lethargic evening.

Surfacing: an appreciation in 20 fragments Surfacing: an appreciation in 20 fragments

I struggle to articulate the notion of an erotics of art.

Technical difficulties Technical difficulties

La bohéme returned to the stage of the Metropolitan Opera once again last night (does it ever leave?)

Placebo effect Placebo effect

Good singing and a dramatically potent (if conservative) production were an unbeatable combination in the Metropolitan Opera’s season premiere of Donizetti’s L’Elisir d’Amore.