On this day in 1974 soprano Kiri Te Kanawa made an “emergency” Met debut as Desdemona and her broadcast debut
How many hours of our lives are spent looking back?
On this day in 1968 mezzo-soprano Fiorenza Cossotto made her Metropolitan Opera debut as Amneris.
On this day in 1957 soprano Martha Mödl made her Metropolitan Opera debut as the Siegfried Brunnhilde.
The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
It says something about Boston’s opera scene that one of the most consistently ambitious events of the opera season is a one-off performance played by the Boston Youth Symphony Orchestras.
On this day in 1958 soprano Inge Borkh made her Metropolitan Opera debut as Salome (paired, of all things, with Gianni Schicchi)
A convocation of mezzos–and a pride of tenors–produce hundreds of sixteenth notes in a bewitching Rossini showpiece
“The mystery of her voice gripped my soul,” Sharpless tells Pinkerton at the beginning of Puccini’s Madama Butterfly. One could say the same thing of Aleksandra Kurzak’s remarkable portrayal of the title role, the main reason to catch the Met’s latest revival.
On this day in 1958 Samuel Barber‘s Vanessa had its world premiere at the Met
On this day in 1918 Pietro Mascagni and Giovacchino Forzano’s Lodoletta had its United States premiere at the Metropolitan.
Nothing says “diva” like an insane recital program.
This Carmen, in other words, was somewhat less radical than its initial image suggested.
When the Staatskapelle Berlin announced a two-night engagement at Carnegie Hall performing all four Brahms symphonies, I immediately made a note in my calendar to attend. I also wondered who would be the conductor when the announced Daniel Barenboim inevitably withdrew.
A perfect escape for a city laden with recent layoffs and job cuts coming into Holiday season
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
Readers, writers, and stars reflect on the 30th anniversary of “the most essential blog in opera” (NYT)
As far as I know, Juan Diego Flórez last appeared in New York City (not totally to his advantage) as Alfredo in the Met’s garish new production of La Traviata back in December 2018, nearly five years ago.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
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”
Chris’s Cache wraps up November with Régine Crespin’s Chicago Leonore; two rare Met Fidelios headed by Christa Ludwig and Hildegard Behrens; and a concert performance with Birgit Nilsson led by Leonard Bernstein, plus a final twist: excerpts of Carol Vaness in Leonore.
I can still vividly remember the first time the music of George Frideric Handel made an impression on me.
In its Met premier, neither a talented cast nor some beautiful musical moments were enough to make Florencia feel new or vital.
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.