Bellini blossomed over us like a love fest.
Gluck’s Iphigénie en Aulide (1774), the occasion of his Paris debut, gets far less respect than her sequel, Iphigénie en Tauride.
Short answer: yes. But let’s begin by dismissing the a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.
The career of Sondra Radvanovsky has had an odd trajectory. A veteran of the National Council Auditions and the Lindemann Young Artists program, much of her work has centered on the Metropolitan Opera, which her press materials call her “home” theater. Yet her early career there was slow in starting. After numerous Aida Priestesses, around…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
Hasten thee to feed another quarter of conversation for The Talk of the Town!
Sign up for our free Newsletter.
Support Parterre Box
Donate to keep opera's liveliest publication free and independent. No paywalls, no institutional backing, no bootlicking.
Get our free newsletter
Opera's top reads delivered to your email weekly…ish.
Join over 100k readers.
The best opera magazine on the web.
Reviews, breaking news, critical essays, and brainrot commentary on opera from those demented enough to love it.
Essentials
Copyright © 2026 Parterre Box.
All rights reserved.
Registration or use of this site constitutes acceptance of our Terms & Conditions and our Privacy Policy.
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.