Patrick Mack
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
A Baroque Valentine’s with Opera Lafayette | Feb | DC & NYC
Celebrate love in all its guises with tender ballads, amorous duets, cheeky verses, and bawdy drinking songs plus food, cocktails and wine.
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
The Albanian soprano Ermonela Jaho is surely the reason that Covent Garden has made a commercial release of this “Live to Cinemas” relay from March of 2017.
I hardly know where to heap my praise first.
For opening night of the new LA Opera season Placido Domingo decided to return to one of his best Verdi showcases, Don Carlo, only this time as the baritone, Rodrigo the Marquis di Posa, instead of the title character.
The career of our beloved Renée Fleming deserves to continue… by whatever means necessary.
Orfeo’s latest edition is a 1978 performance of Lucia di Lammermoor with a very estimable cast that on its surface may seem a tad mundane but the extensive liner notes (with performance photos) tell the story of why it held such magic.
Well here we are, beloveds, still swathed in the warm glow of the Leonard Bernstein centennial. Box sets abound like bunnies in a hutch.
I have a confession to make. I have been taking Rigoletto for granted.
The Verdi Chorus celebrated their 35th anniversary with their spring concert weekend entitled The Force of Destiny last Saturday night and Sunday afternoon.
Neumeier adapted the story close to home, making Orpheus a choreographer and his wife a star ballerina.
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
The arrival of a new recording of Giuseppe Verdi’s Otello into the catalogue, to say nothing of a new tenor capable of singing Otello, is generally cause for hosannas all around in operatic circles.
The Eloquence label of Australia, the down under-arm of Decca and now by extension Deutsche Grammophon, seems to specialize in the re-release of “Auld Lang Syne” treats.
What if you could time travel back to the first run of Giuseppe Verdi’s first great success Nabucco?
Georges Bizet’s Les pêcheurs de perles has been knocking steadily at the door of the standard repertoire now in this country for quite some time.
When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
In May of last year tenor Piotr Beczala and soprano Anna Netrebko sang in Lohengrin for the first time under the baton of Christian Thielemann in his home house at the Staatskapelle Dresden.
The Broad Stage presented Joseph Calleja in their Celebrity Opera Series May 10 with a concert called A Tribute to Mario Lanza.
W.C. Fields used to have a funny trope about in show business you should never work with children or animals. To that list should perhaps be added the soprano Anna Netrebko.
Not a few eyebrows arched on social media when L.A. Opera appropriated the hashtag “Fight like a girl” on street level poster adverts all over town for the revival of their 2013 production of Giacomo Puccini’s Tosca.
Mr. Fabiano proceeded to pour gasoline over the audience and toss a lit match into the crowd with his rendition of “Granada.”
Saturday night the Los Angeles Opera threw itself a party.
Jacques Offenbach’s Les contes d’Hoffmann has had a bumpy ride to its pride of position in the current French repertoire.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
