Parsifal puts Monsieur to sleep when he most needs it. He has probably listened to more versions than actually exist.
This may be a rather trite choice, but I genuinely believe that Rossini comedies make the ultimate comfort operas.
Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
Seeing Sondra Radvanovsky as Medea at Lyric Opera of Chicago sprawled across the floor, soaked in her children’s blood, is proof that we’re witnessing an utterly haunting singer-actor.
This sequence of two arias is perfectly judged to calm the jangled or melancholic spirit.
Anna Netrebko managed to debut a new role in Naples earlier this month — Amelia in Un ballo in maschera — and this week’s Grand Tier Grab Bag features her in the complete second Act of her first performance.
This performance truly “never fails to lift my mood.”
A Missa Solemnis to celebrate 125 years of Boston’s Symphony Hall was sophisticated and subdued.
Der Rosenkavalier is a three-hour meditation on nostalgia. What could be better to bathe in?
The timing for Boston Lyric Opera’s production of Macbeth this weekend was perfect for Halloween, though the show itself at the Emerson Colonial Theatre was decidedly less spooky.
Parterre Box features an exclusive sample of Lawrence Brownlee‘s jump-in performance in La sonnambula from this weekend
‘Comfort opera.’ Hmm… I had to give this one some thought.
I have listened to this clip on the way to every first date I’ve ever been on.
Mere days remain to contribute to The Talk of the Town for the rest of the year!
The opera is life affirming, but also recognizes that life comes to an end.
Today’s Grand Tier Grab Bag features Chiara Isotton and Joyce El-Khoury as two murderous mommies in the final scene of Cherubini‘s Medea (and Medée)
My comfort opera is Elektra. Yes, you read correctly, Elektra.
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