Queer
parterre‘s very own Max Keller opens up in The New York Times (!) about how starting T has affected their voice
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Jamie Barton graces the Last Night at the Proms starting at 2:00 PM EDT.
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Following the successful launch of the new regular feature The Talk of the Town in January, the team at the box is inviting contributions for a new quarter of operatic potpourri.
Our Own Jamie Barton graces the Last Night of the Proms with her “queer fat femme energy.”
“Turandot is visibly stirred by Liù’s self-sacrifice and she caresses her dead body. Just after Calaf kisses her, she takes her headdress off and comes out as a gay woman.”
Stonewall threads some difficult needles with great success overall in this last installment of New York City Opera’s Pride Month Programming.
David Lang’s Prisoner of the State, which was premiered on Thursday night by the New York Philharmonic, places the issue of mass incarceration front and center, foregrounding the violence of the prison system, both physical and psychological.
Daniel Thomas Davis’ The Impossible She, was a towering musical achievement, a hugely complex work packing a whopping political and intellectual punch.
We are the elusive, the mysterious, the ever-courted Millennial Audience, Mr. Darcy to the marketing department’s Mrs. Bennet.
One needs liberty in order to be a libertine.
UrbanArias’ recording of Paul’s Case is an antidote to the intellectual pretensions that regularly drag contemporary opera performance toward tediousness and boredom.
Now, you would think nothing could please gaycentric La Cieca more than yesterday’s New York Times profile of the Met’s new music director…
The most exquisitely queer “parterre box” headline of all time has been written.
It’s surprising to read that, as of this writing, La fanciulla del west has only had 105 performances at the Metropolitan Opera.
On Thursday, Puccini’s seventh opera, the California Gold Rush romance La fanciulla del West, returns to its birthplace for its first Met performances since 2011.
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.
Sunny, lakeside Cooperstown presents a peppy, exuberant, winning production of West Side Story, the musical.
If you’ve ever wondered what the Lost Boys’ abode might look like lined with mermaids, shopping carts, and unpeeled potatoes, look no further than Christopher Alden’s new production of Peter Pan.
After an early Saturday shift bar-backing at Aura Bar, Evan had trotted over to his friend Jesús Halévy’s for a late-night slumber party à deux.
Jerold Offerman had spent the day readying the Algonquin Opera orchestra for a high-profile, high-stakes revival of Lucia, and things weren’t going well with the glass harmonica.
Good singing and a dramatically potent (if conservative) production were an unbeatable combination in the Metropolitan Opera’s season premiere of Donizetti’s L’Elisir d’Amore.
Composer Gregory Spears is a unique example of this maxim that one must be “deeply rooted in tradition in order to innovate with integrity.”
Weekends at Aura Bar on 53rd and Ninth are typically big money makers for the morons who run the place. Jonjon and Yoni.
I had a panic attack, that’s how moved you made me.
The most distinct pleasure of The Merry Widow at the Metropolitan Opera was the polished, yet warm, performance of Susan Graham as Hanna Glawari.
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