Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
The embattled Andris Nelsons and the Boston Symphony Orchestra bring Adams and Dvorák to Carnegie Hall.
Lisette Oropesa, Piotr Buszewski, and Luca Salsi feature in a rote revival of Michael Mayer‘s cloying production of La traviata.
Kent Nagano gives a boost to the Opéra national de Paris‘s revival of Nixon in China.
Joyce DiDonato makes the most of Kevin Puts‘s trite new Emily Dickinson monodrama.
A chic production of Violanta at the Deutshce Oper Berlin continues the Korngold craze on the other side of the Atlantic.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
It’s Norma, darling. We know.
A starry cast is hampered by Christof Loy‘s dour production of Rusalka in Barcelona
John Yohalem wraps up Donizetti Month at parterre box with a look back at nearly six decades of Donizetti operagoing.
This week, Chris’s Cache offers a performance of Follies from 2007 featuring Lucine Amara as a rarely richly sung Heidi alongside Donna Murphy and Victoria Clark.
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
The Boston Symphony Orchestra’s program of works by Mozart and Kevin Puts, a composer championed by star Renée Fleming, was one of musical and artistic contrasts.
Happy was I to attend the Celebrity Opera Series presentation Saturday night at BroadStage, mere blocks from my humble abode in Santa Monica as Anglela Gheorghiu was making an eagerly awaited return for the first time since her debut here in 2013.
In concert with Renée Fleming’s quietly authoritative stage presence, the performance offered frequent reminders of the special affinity between this singer and Strauss’s aristocratic women.
She can’t put her foot on the gas the way she used to but there’s still plenty of fuel in that tank.
In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
I watched the finals for this year’s George and Nora London Foundation competition and would like to offer, if not a traditional review, a brief roundup of who I found exceptionally watchable and whom I think you, dear parterre boxers, should watch out for in the next few years.
Readers, writers, and stars reflect on the 30th anniversary of “the most essential blog in opera” (NYT)
Zachary Woolfe reflects on the legacy of parterre box founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
parterre box turns 30 on Sunday and writers from around the box are reflecting on the legacy of founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
parterre box turns 30 on Sunday and writers from around the box are reflecting on the legacy of founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
Today’s Chris’s Cache features live recordings of Otello most noteworthy for their Desdemonas: (in chronological order) Teresa Stratas, Julia Varady, Eva Marton and Karita Mattila.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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