As Brünnhilde invokes the gods of an empty Valhalla for one last time and strides confidently into a wall of flame, we pause for a moment, unsure of what will follow.
A regular day in 2018 Washington, D.C., or Verdi’s Don Carlo?
My takeaway from this evening is that I want to hear a lot more from Amber Wagner.
Lyric Opera of Chicago’s spectacularly colorful and glitzy new production of The Pearl Fishers opened on Sunday.
Radvanovsky delivered a vocal and histrionic performance that should be the gold standard Norma for years.
That little place just two hours from the city is on the list of things I shall never understand, like the plot of Parsifal.
I grew up with the Anna Moffo recording of Luisa Miller, so it was fortuitous that the Met gave the premiere of a new production in 1968, around the time RCA released the album.
Emilio Sagi’s production of The Barber of Seville is ungepotchket in the flesh.
Gala this; gala that; who knew rich people wore clothes so badly?
Is Der Ring des Nibelungen responsible for the transformation of Seattle from a gray, damp, low-rise Boeing company town where half the jokes had punchlines in Norwegian (and were about lutefisk in any case) into today's booming cultural metropolis? I like to think so.
Here goes with the End of the Gods and the End of these Ring reviews: Götterdämmerung was more of a mixed bag than the other operas, but still left a powerful impression. This was where Zambello’s choice to steer clear of heavy spectacle was most evident to me. The cost in grandeur was offset by…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.