In Handel’s Rodelinda, a usurped monarch, believed dead, returns to avenge his deposition and reclaim the woman he loves.
In French opera—until Pelleas et Mélisande anyway—there is always a great deal of dance; often, dance rather than song is the main event.
Over the past week New York City was blessed by two appealing 17th century presentations: John Blow’s Venus and Adonis from Opera Lafayette and La Storia di Orfeo courtesy of the Boston Early Music Festival.
A brace of Handel operas at the George Enescu International Festival.
“Die Zauberflöte is an opera!” “No, it’s the first musical comedy!”
This year as part of Bard’s “Puccini and His World” festival audiences may witness the resurrection of Mascagni’s distinctly odd Iris.
Lincoln Center hosted two milestones this week.
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.