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.
My first experience with John Corigliano’s music was in high school with the ear and mind blowing score he wrote for Ken Russell’s film Altered States.
Manon Lescaut was Giacomo Puccini’s first big international success. His publisher, Giulio Ricordi, tried to put him off the project by citing Jules Massenet’s very successful adaptation just nine years previously. Puccini was intent on making the story his own, insisting, “A woman like Manon can have more than one lover… I shall feel it…
It seems almost comical to think now but the designer-director Jean-Pierre Ponnelle, who died in 1988, was at one time considered the height of regie-theatre scandal.
The role debut of a world-class singer is always a time of great anticipation, hopefully to be followed by celebration, if not unbridled jubilation.
Giacomo Puccini’s horse-opera version of “Snow White and the Seven Dwarfs,” La Fanciulla del West, based on David Belasco’s play, The Girl of the Golden West, enjoyed the status of a curate’s egg for quite a while.
I fall on my knees before this new live recording issued by the San Francisco Symphony.
With much laying-on of fanfares and gift boxes our friends at Decca Classics have unleashed Luciano Pavarotti Edition 1: The First Decade on a weary and satiated public.
A great man has passed and our consolation is that so much of his art has been preserved for us on recordings.
“Conduct Salome and Elektra as if they were by Mendelssohn: Fairy music.” Seriously, how often has that happened?
With the help of our friends at ArtHaus Musik, the Deutsche Oper Berlin have really been emptying out their archives and that’s certainly all for the good.
I am certain that we Parterrians are a very literate, even literary, group.
Once again, beloveds, we approach the Milanese shrine that simultaneously attempted to cultivate and destroy the career of Maria Meneghini Callas.
Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.
I am grateful to Sony for this new release of the Metropolitan Opera’s latest production of Parsifal and I hope I’m not the only one who discovers what a rich experience this opera can be because of it.
Mr. Ian Rosenblatt is a London solicitor and patron of charitable causes in Britain primarily focused on classical music.
I’ve always had a fondness for Giacomo Puccini’s Suor Angelica and apparently so did he since he often referred to it as, “among the finest of my children.”
The crossover album: a hint that that an artist has either exhausted all the repertory at her command and owes her record label a new release or that her waning vocal resources really shouldn’t be taxed much further than an octave.
I never thought I’d see the day when Giuseppe Verdi and Benjamin Britten would battle it out for musical superiority but that’s exactly what happened in Los Angeles this year.
I think we’re all aware by now of the wicked libel that the French dramatist Victor Hugo concocted about the fair Lucrezia Borgia with his depiction of her as a murderous virago.
Now that many of us are leaping to the altar unfettered by those pesky legalities of yore the problem of what to put on the bridal (or groomal) registry has become an atrocious head scratcher. So many of us have had housekeeping set up for so long now that we really don’t want for anything.…
Say what you will about Naxos, but this company has created a sizeable number of recordings of works on the periphery of the standard repertory and have managed to document quite a few interesting singers in the bargain-and at bargain prices.
Strange as it is to encounter two such disparate works presented with the identical production concept, it’s odder still that the opera you’d think would be the slam dunk is anything but.
What we have here is the grandest opera never heard.
I’ve long been a fan of Kenneth Branagh, even though this fandom feels a bit like being a camel in the desert.