Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
Washington Concert Opera began its 39th season last month with Christoph Willibald Gluck’s late masterpiece Iphigénie en Tauride.
The (R)evolution of Steve Jobs at the Kennedy Center: not a poorly made opera, but so relentlessly mid.
In a splashy new recording of Norma, Marina Rebeka “is doing something very untoward, and it appears destructive to her voice.” It has Niel Rishoi worried.
Two opera houses, both alike in dignity (but less so in resources and international fame) launched their seasons this week, making similar out-of-the-box choices: new works on edgy, contemporary themes.
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
Bay Area composer Mason Bates’s and librettist Mark Campbell’s contemporary opera about the life of the tech mogul Steve Jobs came home “to the place where it all began” in spectacular fashion
Hunger was the note of the night, a sentiment shared between the audience and Proving Up, a lean and hungry one-act telling a story of drought and desperation on the post-Civil War Western frontier.
Breaking the Waves is not only a “real opera,” it is an immensely powerful work of music drama.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
At the Opernhaus Zürich, the coat check is not optional.
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.