A barrel of laughs
Jake Heggie and Gene Scheer‘s bubbly The Judgement of Paris brings a distinctly Californian terroir to operatic comedy.
Jake Heggie and Gene Scheer‘s bubbly The Judgement of Paris brings a distinctly Californian terroir to operatic comedy.
Tobias Picker and Aryeh Lev Stollman‘s Lili Elbe receives its first recording ahead of its stateside transition.
Based on exactly one recording, Maurice Abravanel is my favorite opera conductor.
Les Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
Cher public is exhorted to join the Geplauder when the annual week of broadcasts from Bayreuth begins on Saturday
I trust, fellow Parterre readers, that we can all agree that Riccardo Muti is a great opera conductor.
While it may not be top-tier Rossini, Teatro Nuovo’s mounting of Il turco in Italia is still good summer fun.
Fifty some years ago I stumbled on to John Barbirolli‘s recording of matchless Elgar & V-Williams music for strings and discovered my go-to conductor for life.
Elina Garanča’s aborted first Ariadne may have been the headline item at the Salzburg Festival next month, but this week Parterre Box features the Zerbinetta, Ziyi Dai.
Teatro Nuovo pays tribute to a historic New York production of Don Giovanni with a talented ensemble.
Lucia di Lammermoor at La Scala, starring Rosa Feola, proves as airless as this summer’s heatwaves.
Antonio Pappano‘s versatility in both German and Italian repertoire and beyond is both rare and impressive.
Whether an opera by Puccini, Verdi, Wagner, Strauss, or Berg, Dimitri Mitropoulos brought to the podium a total understanding and love for each score he touched.
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
I am once again going to laud the classic Rudolf Kempe commercial recording of Lohengrin (which I have lauded overall) for its conducting.
Roger Norrington conducted Rossini’s Semiramide in Pesaro ’94 and made the Orchestra part of the drama in a way I still have never heard duplicated in a Bel Canto opera.
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