Sylvia Korman
Sylvia Korman is a PhD student at the CUNY Graduate Center 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 cowboyverismo and people mad at opera.
I find it difficult to experience Madama Butterfly without also experiencing an odd fracturing of the self.
We are the elusive, the mysterious, the ever-courted Millennial Audience, Mr. Darcy to the marketing department’s Mrs. Bennet.
Oh, that slippery Don Giovanni—so elusive, so chaotic, so open to no end of interpretation!
Ivo van Hove really seems to be everywhere lately.
I do not envy Jennifer Rowley the task of stepping into Anna Netrebko’s shoes.
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.
Sounds like a better Friday night than “what the composer intended.”
Broadway’s new Head Over Heels is anything but under committed; it’s a show with an irresistibly fun spirit and an infallibly good heart.
“Too sexy” is a hell of an accusation for a woman wearing a giant mesh Brillo pad!
Here’s a set of comments that I think really captures the duality of YouTube — two criticisms of Jonas Kaufmann. I won’t say which I personally find more valid!
I found myself engrossed in the comments of bitchy queens and backseat directors.
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.
