Patrick Clement James
Patrick Clement James is from Woodstown, New Jersey. His creative writing has appeared in Meridian, Ninth Letter, AGNI, PANK, and other journals. His scholarship has appeared in Rhetoric Society Quarterly and NANO. His essay “Six Essays for Six Works of Art” was nominated for a Pushcart Prize and named a notable essay in The Best American Essays 2019. His research has received awards from CLAGS: The Center for LGBTQ Studies and the Rhetoric Society of America. He teaches writing at West Chester University of Pennsylvania.
Regina Opera almost completely fulfilled its mission Saturday afternoon with their production of Manon Lescaut.
To be honest, I have never seen anything quite like Matthias Goerne in recital. He seemed so wonderfully free.
In a striking program at Carnegie Hall last night, the Orchestra of St. Luke’s), with guest vocalist Susan Graham, brought together a wide array of musical proclivities—good and good bad taste alike.
In Charlie Parker’s Yardbird, an opera based on the famed jazz musician’s life, the title character asks, “So if there is a God, why does the negro suffer? Is my prayer, my music lesser, smaller in God’s eyes?”
What is an Orphic moment? A song so sweet that even Hades must release the dead back to the living?
With recent events in politics, it is becoming ever clearer that humankind hasn’t evolved much since the Enlightenment.
Tenor Paul Appleby’s onstage persona is as American as apple crisp, and he possesses the untroubled confidence of a politician.
An astute double-feature exposes all the complexities of female suffering embedded within two canonical works.
After two previous productions of Tosca in New York City this season (the Met’s revival of the controversial Luc Bondy version and NYCO Renaissance’s depressingly retrograde take), New Yorkers finally got a pleasing, if rough-edged, performance of the Puccini classic from LoftOpera.
If I were Renée Fleming, I, too, would indulge myself.
A vibrant burlesque, this adult iteration of the classic fairytale manages to arch its back against the past while crawling toward the future.
New York City Opera has officially launched its “renaissance” at Lincoln Center’s Rose Theater last night with a production of Puccini’s Tosca that should please a lot of older, conservative audiences, if not the adventurous operagoers that City Opera courted in the past.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
