This week, Parterre Box shares Quinn Kelsey and Jennifer Rowley in a duet from a Verdi opera rumored to be returning to New York this time next season.
The women were the highlights of Washington National Opera’s militaristic Aïda
Brendan Latimer sits down with Francesca Zambello and members of the cast of Washington National Opera’s production of Aïda to discuss the complicated legacy of one of Verdi’s most beloved works and the tricky business of “inventing the truth.”
Soprano Iulia Isaev proved to be in just about every way a lovely Tosca.
I do not envy Jennifer Rowley the task of stepping into Anna Netrebko’s shoes.
Use bodily force and get your friends to one of the next five performances of the Met’s new production of Adriana Lecouvreur. It is everything!
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
Though orchestrally lavish, this “semi-staging” delivers less theater than no staging at all.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
La bohème is such a popular romantic opera that hardly anyone ever notices that Mimì and Rodolfo undergo what in modern terms would be called speed dating.
The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops.
The Post decided to pass on a review of the Caramoor Maria di Rohan (July 24), but the presentation is definitely worth a mention and some discussion, so let’s take it to parterre.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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