 Evan Zimmerman / MetOpera In 2011, Sondra Radvanovsky’s Tosca proved promising. Fourteen years later, it was absolutely magnificent—a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Or so says Chris Corwin, who braved the cold for this sold-out run.
For you tender shut ins who prefer opera from a distance, parterre box hosts live chats during broadcasts and livestreams.
Lately, these have generated the most clicks and clacks from our cliquish claque:
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“I hate hate hate hate hate that she stabs herself. The tragedy as written is that she has to live with her own guilt-wracked conscience. I’m amazed that Mayer doesn’t get that.” – SiVendetta
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Ken Howard/Met Opera
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“I think it was [Luca] Salsi‘s afternoon. Never thought I’d be saying that.” – Moe Rear
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Ken Howard/Met Opera
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“On the subject of Tosca performances, the “review” on Opera Wire of the most recent Met outing plummets to a new low even for that embarrassingly amateur site. E.g., “And as he sang the lines, his lust for Tosca grew as he signaled his desires toward his crotch aria and then towered over caressing her shoulders almost going toward the breast area. His sexual advancements became increasigly threatening. … Even when Spoletta walked in, he continued in his domineering position and then sat on the chez.” – kankedort
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© Fabrizio Sansoni | Teatro dell’Opera di Roma
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Wait, I thought we were listening to something from Rome???
Listen, we didn’t say the commentary was 100% on topic, but we would venture to say that at least 65% of it is roughly 95% on point.
You see, dear reader, no matter where you position yourself—in conversation, that is—your wit and wisdom are part and parcel of parterre box.
Par conséquent, the Cher Public await(s?) you.
(OperaWire, y’all need a collabo or a consult? DM me.)
Given the keen interest in recent posts of Met pirates of Montserrat Caballé in Verdi, Chris’s Cache concludes its trio with the Spanish soprano’s Met Violetta, along with additional Met in-house recordings of Virginia Zeani, Pilar Lorengar, Jeanette Pilou, and Joan Sutherland as Verdi’s doomed courtesan.
Click to listen:
Speaking of, do you subscribe to our sibillant podcast, Chris’s Cache? Well why not? It features operatic gems, secret live recordings, and honestly a little filth… from the collection of Christopher Corwin.
Don’t miss and episode. Subscribe on:
Do you have questions, tips, suggestions, gripes, or story ideas?
Email us if you must: [email protected]
Ciao for now!
Nick Scholl
Publisher, parterre box
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