Today’s Trove Thursday was originally scheduled for February 27, which would have been Mirella Freni’s 85th birthday, but instead we remember today the beloved soprano who passed away this past weekend in Puccini.
Whether Lyric Opera of Chicago is an appropriate venue for such an intimate, gentle show as The Light in the Piazza is a subject of much critical debate.
Ryan McKinny’s Don is subtler, slyer, smoother, with a sharp wit and sense of dark humor that gives added dimension to the role.
A near-full house attended the Jessye Norman Memorial Celebration at the Met on Sunday afternoon, the auditorium packed with family, friends, colleagues, and fans of the late soprano, who passed away on September 30 of this year.
Lyric Opera of Chicago’as Don Giovanni lands smack dab in the middle of our current debate about wanted or unwanted sexual advances and outright sexual abuse.
A second Trove Thursday marking the recent passing of Jessye Norman focuses on the soprano’s catholic repertoire with three 20th century works: Stravinsky’s Oedipus Rex; Berg’s Altenberg Lieder; and Franck’s Les Béatitudes.
Sunday’s matinee at Lyric Opera of Chicago was my first experience of Heggie and McNally’s 2000 opera Dead Man Walking. It certainly won’t be my last.
Sunday’s Richard Tucker Gala at Carnegie Hall was unusually satisfying despite a less than usually superstarry line-up.
An opera company presenting a Broadway musical that centers around a woman of a certain age travelling to Italy with her young daughter might seem more a vehicle for a great diva of a certain age.
Luisa Miller snowballs toward disaster and death.
When I first heard of this broadcast my thought was to save it to celebrate Jessye Norman‘s 75th birthday in 2020.
It’s an old chestnut of a joke that applies even more to opera than to the theatre: A veteran actor is on his deathbed.
A hefty thunderclap shook Tanglewood’s Koussevitzky Shed just as Andris Nelsons raised his baton for the third act of the weekend’s concert Die Walküre.
Trove Thursday offers Bellini’s La Sonnambula with Anna Moffo (San Francisco 1960) and Anna Netrebko (Vienna 2006).
“Who knows what evil lurks in the hearts of men?” went the introduction to the 1940s radio program The Shadow, an apt description for the San Francisco Opera’s production of Rusalka.
While Luciano Pavarotti may have brought opera to the people, once he realized how lucrative it could be, there was a string of promoters who helped him turn all that adoration into cold hard cash.
Verdi’s Giovanna d’Arco in a rare NYC concert performance with Margaret Price, Carlo Bergonzi and Sherrill Milnes.
In our current political climate with issues of immigration, tribalism, and white nationalists, the 1957 musical West Side Story has a distinctly contemporary feel.
Sunday’s “Rising Stars in Concert”, featuring the Ryan Opera Center ensemble and members of the Lyric Opera Orchestra, was a stirring and entertainingly musical afternoon.
Saturday night, Lyric Opera of Chicago gave us a wonderful evening of vocalism in honoring Renée Fleming’s 25th anniversary at Lyric.
It’s been a rough winter in Chicago, and an especially rough one for lead singers at Lyric Opera of Chicago
Those of us who were hoping for “a star is born” performance were, alas, disappointed.
Porgy and Bess, George Gershwin, Ira Gershwin and DuBose Heyward’s 1935 “folk” opera, graced the stage of Dutch National Opera for the first time last month, and it was resounding success from start to finish.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
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.