tribute
Renata Tebaldi had one major advantage over Milanov and Callas (and most other sopranos): she was Italian.
By Andrew Knapp
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My sole live encounter with Seiji Ozawa coincided with his final appearances at the Metropolitan Opera, where he conducted its 2008 revival of Tchaikovsky’s Pikovaya Dama.
parterre box is excited to present again Mike Richter’s collection of recordings of Rose Ader along with this biographical tribute in honor of a significant artist whose Jewish identity perhaps prevented her from achieving the renown she deserved
By Eli Jacobson
Artistic temperament she had, but not including self-centered megalomania. She was one of the most fully human individuals I have ever known.
By Niel Rishoi
I had no idea whatsoever of the reality of the life of this strong, vibrant woman I had gotten to know, the traumas she suffered; the extent and the horror of her experiences was all very surreal to me.
By Niel Rishoi
The 1990s effectively signaled a new phase in Edita Gruberova‘s career with her undertaking more demanding, heavier roles, while still essaying Zerbinetta and Lucia.
By Niel Rishoi
The entire dinner was spent discussing conductors.
By Niel Rishoi
You know in some of those old Jeanette MacDonald movies where she plays a prima donna and receives applause in a public setting? That’s just what happened when the three of us walked into that restaurant, one patron calling out “Brava!”
By Niel Rishoi
I proposed to Edita that we turn my 20-page paper into a book, a musical biography.
By Niel Rishoi
I never fathomed I’d be writing words as these this soon.
By Niel Rishoi
