review / performance
Time to stop being coy, I think. You and I had quite different takeaways on the show, didn’t we?
3 comments
For a show set during the hardscrabble 1930s, very few of the performances give off an air of downtroddedness.
As long as women have been preyed upon, Don Giovanni has been relevant.
By Harry Rose
It’s difficult to discuss Unknown Soldier without considering the impact of legacy.
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We are in the midst of a titanic Beethoven onslaught prompted by the unstoppable need to commemorate the composer’s upcoming 250th birthday.
Ester, Liberatrice del Popolo Ebreo was presented in concert on Thursday night by Salon/Sanctuary Concerts in the Brotherhood Synagogue on Gramercy Park, in proper time for Purim.
By John Yohalem
Bess is clearly Angel Blue’s part—set in the richest and most shimmering upper middle portion of her voice, and optimally suited to her persona.
By David Fox
Not everyone is happy about the Beethoven sestercentennial.
That question hung in the air when Teatro de la Zarzuela Madrid revived Tomás Bretón’s opera Farinelli for first time since its premiere in 1902.
While last year’s finals were dominated by early nineteenth-century bel canto arias, this year’s finalists took on a remarkably broad range of music from a variety of repertoires.
VIctor Herbert demonstrates in this slight, affectionate piece a talent for keeping his musico-dramatic balls in the air, as Madeleine’s spirits juggle, fall, rise again, and droop to elegant resignation at the last.
By John Yohalem
I never imagined I’d see such a rote park-and-bark Wagner production created in 2020!
In the opera world, one of the pieces that underwent a multitude of changes in its reception was undoubtedly Richard Wagner’s longest and most Germanic opera, Die Meistersinger von Nürnberg.
Although I usually pretend that I don’t have the diva-worship gene, sharp-eyed readers of parterre box will know that since I joined the site in 2011 as “DeCaffarrelli” I have often swooned as an Ann Hallenberg-fanboi.
