Have a napkin, have a chopstick, have a chair
From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.
From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.
Chris’s Cache celebrates Ewa Podles‘s long connection with Handel by featuring her in three complete, decidedly un-HIP operas spanning over twenty years
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.
Leos Janácek’s rise to international prominence as a Titan of music was dovetailed by a cluster of profoundly original operas that were written during his extraordinary autumnal years.
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.
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
The parterre team is glad to make available a professionally produced recording of the February 3rd memorial held in honor of parterre box founder James Jorden
Happy 86th birthday composer John Corigliano
The new Opera News section of OPERA magazine already seems to be getting smaller, but the March issue features a long interview with Carol Vaness about Donna Anna.
We may all be armchair Handelians, but some of us are more used to it than others.
Real estate is hot along the Acela corridor right now: as proof, Judith will have toured at least three castles in New York and Boston between this spring and last.
Following the composition of Un ballo in maschera, Verdi had gone into a self-imposed retirement, at least musically; he had not composed a note in four years.
I’ve argued with myself for many years as to which was my favorite opera by Giuseppe Verdi, La forza del destino or Don Carlos. The latter finally won out especially after studying it in depth, but in the long run, it is the music of Forza that I love the most.
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.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.