She’s no basic britch
Samantha Hankey’s Composer is the standout in the Wiener Staatsoper’s episodically sublime Ariadne auf Naxos revival.
57 pieces since 2017 — in 16 roles, at 10 companies, most often at Metropolitan Opera.
Samantha Hankey’s Composer is the standout in the Wiener Staatsoper’s episodically sublime Ariadne auf Naxos revival.
Minutes into “An die Nacht,” the first song Friday night, I realized how much I’d missed being enveloped in that seductive Straussian combination of a soprano (or two or three) rising higher and higher over a surging orchestra.
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
Last night’s cast of Die Meistersinger at the Met, dominated by the irascible, unbeatable duo of Michael Volle and Johannes Martin Kränzle as Sachs and Beckmesser, did much to enliven Otto Schenk’s creaky, nearly 30-year-old production.
Michael Spyres talks to Kevin Ng about his winding path as a baritenor, which composer he wants to conquer next, and how he makes Wagner work in his voice — and in his native Ozarks.
SoCal goes Scandi in two recent concerts, with one featuring an appearance by Lise Davidsen.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Lise Davidsen‘s first Isolde is only one of the highlights of Tristan und Isolde at the Liceu in Barcelona.
Anticipating the titanic arrival of Lise Davidsen‘s Isolde in New York in March, Parterre Box is thrilled to share a bit of her debut opposite Clay Hilley recorded in Barcelona last week.
I’ve never had a better time in an opera house.
Leos Janacek’s 1904 opera Jenufa could be a rather grim affair.
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
Fidelio, which opened last week at the Metropolitan Opera, will always be relevant, I fear.
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
Yusif Eyvazov dominated Friday’s Met premiere of Pikovaya Dama with a fearless, world-class portrayal that instantly transformed the opera into December’s must-see event.
This July, Munich played host to hordes of football fans in town for the European Championship—and arguably the two finest working sopranos today.
The current Met revival of Der Rosenkavalier, while not perfect, has much to feel joyful and excited about.
In Richard Strauss’s Arabella, the heroine is consumed with finding the right man—der Richtige—but who is the right Arabella?
Trove Thursday offers a pair of live broadcasts of Médée featuring two compelling mid-20th century divas—Inge Borkh in German and Eileen Farrell in Italian.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
A parterre box exclusive: a live recording of Lise Davidsen‘s first Judean princess
I count myself as privileged to have witnessed Götterdämmerungat the Royal Opera House during this season’s revival of Keith Warner’s Ring.
After an uneven gala performance of Tosca on Tuesday, I’m not sure what the Met means by “celebrating Puccini.”
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.