Patrick Mack
Patrick Mack starting listening to opera as a teenager to the total bewilderment of his rock and roll mother. He sang leading roles in the opera departments of Santa Monica College and UCLA and for two years in the Baltimore Symphony Chorus. In 2003 he joined the tenor section of The Verdi Chorus which has been giving young singers paid performance opportunities for over 30 years. He has served on their Board of
Directors since 2012 and handles their publicity, marketing, and Facebook page. Patrick is a luxury cruise consultant with All-Travel in
Los Angeles and was honored as one of the Top 25 Travel Agents in the country in 2015 by Travel Agent Magazine. Having weaned himself from an
early age on the musical opinions of Andrew Porter in the New Yorker, he has been wielding the critics pen on Parterre.com since 2011.
His singing of the national anthem has never failed to impress those standing closest to him at any public event he attends.
We open in a war room that resembled nothing so much as a parking garage. Amneris’s boudoir was certainly recognizable as such but I’d be hard-pressed to pinpoint the location of the Triumphal Scene other than the inside of a large discothèque.
By Patrick Mack
216 comments
Sponsored
Advertise on “the most essential blog in opera”
parterre box, “the most essential blog in opera” (New York Times), is now booking display advertising for fall 2022. Join Carnegie Hall, Lincoln Center, Warner Classics and many others in reaching your target audience through parterre box.
It’s nice to see Sony Classical backing a serious operatic soprano and not some crossover refugee from Britain’s Got Talent or another syrupy Christmas album from the world’s reigning Heldentenor.
By Patrick Mack
Ms. Damrau unleashed a Blitzkrieg of charm upon her audience.
By Patrick Mack
From the multiple standing ovations, to say nothing of the gentleman in the front row waving the Mexican flag, I can safely say that a very good time was had by all.
By Patrick Mack
Los Angeles Opera’s St. Matthew Passion was by equal parts challenging and hypnotic to watch.
By Patrick Mack
We have two reasons for celebrating Jessye Norman and the first is a release on the BBC / London Philharmonic Orchestra label of a Richard Strauss concert.
By Patrick Mack
The sonic wizards of the Netherlands at Pentatone have released their latest in the series of Maestro Lawrence Foster’s studio opera recordings. Reunited with his Lisbon forces, the Gulbenkian Orquestra and Coro, for a fresh take on Puccini’s three-hanky weeper.
By Patrick Mack
In spite of the fact that Rossini and his librettist Jacopo Ferretti removed all the magical elements from the story, therefore making it far easier to produce, there was more than enough enchantment in the singing, and intermittently in the production to enjoy.
By Patrick Mack
You’d think after nearly 40 years of opera going I’d have seen almost everything.. .twice. Yet I found myself at LA Opera Tuesday night for a special presentation of George Frideric Handel’s Alcina which was my first live experience with one of his operas.
By Patrick Mack
Remember that time you went to the opera and the whole evening was like magic? Saturday night at the Dorothy Chandler Pavilion probably ranks among my greatest nights in the theater and I’m finding the superlatives in my thesaurus inadequate to the task.
By Patrick Mack
Let’s all cast our minds back to March of 2020. Or, better, let’s not.
By Patrick Mack
When LA Opera finally decided to put a toe in the water and mount its first production since the start of the Covid-19 pandemic, it was Igor Stravinsky‘s opera/oratorio Oedipus Rex.
By Patrick Mack
This solid if not stellar performance finds our diva in particularly passionate form. Maybe they should have re-titled it Maddalena?
By Patrick Mack
Giacomo Puccini’s La fanciulla del West may have its detractors (Stravinsky referred to it as a “horse-opera’) but you will not find me among them.
By Patrick Mack
I still remember, and some of it quite vividly, what it was like to experience Achim Freyer‘s intense and groundbreaking Ring production all these years later.
By Patrick Mack
This video recording of Il trovatore is sensational for all the right and wrong reasons simultaneously.
By Patrick Mack
Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.
By Patrick Mack
Robert Wilson is many things: a visionary (certainly); an iconoclast, artist, director, and designer of sets, lighting, costumes, movement (and furniture). Yet his work is never boring (well, at least not intentionally).
By Patrick Mack
On the first viewing of this Idomeneo, with a cast clad mostly in military khaki green set against a green sky, the eye starts to tire from the dullness of the surroundings.
By Patrick Mack
Mascagni’s Cavalleria Rusticana has always been a particular favorite, although I’ve only seen it staged once (and that by an amateur company the details of which I share spare you all, save to note that dinner was served during the performance.)
By Patrick Mack
With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
By Patrick Mack
For those of you keeping track at home that’s four substitutions for three roles and the curtain hasn’t even gone up yet.
By Patrick Mack
A special program note for Saturday night’s performance of Matthew Aucoin’s new opera Eurydice pointed to a rare convergence of three MacArthur Grant fellows in its creation and staging.
By Patrick Mack
We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
By Patrick Mack
