Sylvia Korman is a recent graduate from Barnard College and a recent devotee of all things opera. They like mezzos in pants, Met Opera student tickets and reading the comments sections. See their tweets at ? boy eternal ? and people mad at opera.
Sylvia Korman
The Gang! From left: Me (they/them), Asya (she/her), a Rigoletto chorus girl (pronouns unknown), Aydan (they/them), and Tom (he/him).
This Friday, I took my friends to the opera. Read more »
Oh, that slippery Don Giovanni—so elusive, so chaotic, so open to no end of interpretation! Read more »
Ivo van Hove really seems to be everywhere lately. An All About Eve in London, a Network on Broadway, an upcoming West Side Story— even a round-table discussion in the New York Times, apparently convened just to litigate whether or not the contentious Belgian director is, in fact, all style and no substance. Read more »
parterre box, “the most essential blog in opera” (New York Times), is now booking advertising for autumn 2019. Email us at advertising@parterre.com and be sure to ask about our deep not-for-profit discounts!
As Christopher Corwin detailed in his review of the Anna Netrebko-helmed iteration of this production, Adriana Lecouvreur is an opera that seems to be most often mounted as an excuse to showcase the sort of one-in-a-million, top-of-their-game, mega-divas of which Adriana is herself one. Read more »
I really cannot exaggerate the extent to which I truly did not know what was going on in New York City Opera’s production of Maria de Buenos Aires.
Hunger was the note of the night, a sentiment shared between the audience and Proving Up, a lean and hungry one-act telling a story of drought and desperation on the post-Civil War Western frontier.
I’m no fach expert but I will admit the “gay stile” is a new one for me — somewhere between the lyric and the dramatic tenor voices, perhaps?
I love the comments that really seem to think they balanced the positive with the negative.
Cher Public