Matthew Travisano has such doubts about Douglas Cuomo‘s opera recently seen at Opera Parallèle.
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
When Arthur Sullivan (not yet Sir Arthur) composed his “dramatic oratorio” The Martyr of Antioch in 1880, he had just completed The Pirates of Penzance.
I am grateful to Sony for this new release
of the Metropolitan Opera’s latest production of Parsifal and I hope I’m not the only one who discovers what a rich experience this opera can be because of it.
Many American opera-lovers take the “Grand Tour”—a pilgrimage to Europe to attend opera at its great houses—Peter Grimes at the Royal Opera in London or Otello at La Scala in Milan, or perhaps for the more well-heeled a visit to the summer festivals of Glyndebourne, Salzburg or Aix-en-Provence.
Among symbolic classical tropes, one of my favorites (perhaps because only another classicist will understand it) is Nessus’ Shirt, an emblem of glory (a promotion, say, or an expensive luxury) that destroys you.
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.