Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
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)
Two months ago, when climate activists interrupted a performance of Tannhaüser at the Met, the banners they unfurled from the balconies announced, “no opera on a dead planet.”
The beginning of Mary Kouyoumdjian’s Adoration is marked by silence. The young Simon, played by Sammy Ivany, lies on his stomach, scribbling in a notebook.
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.
Angel Island seemed a piece with two simultaneous goals: to musically interpret the poetry of Angel Island detainees and to educate its audience on the history of Asian and particularly Chinese immigration to America.
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.
New York shall never be in need of another Messiah to assist to during the holiday season, but a new tradition is beginning to crystallize at the cavernous St. John the Divine to rival it.
There is a strong case to be made that George Fridrich Handel is the composer most suited to the present moment.
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”
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.