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.
Let’s not forget that it’s only been two years since the Met mounted its first-ever opera by a Black composer.
Two of France’s leading Early Music ensembles recently visited New York City to perform music by some of the 17th century’s leading composers.
When the New York Philharmonic announced Gustavo Dudamel as its next music director earlier this year, speculation arose immediately as to who would take his place out West when he leaves the Los Angeles Philharmonic in 2026.
Two problematic 1990s Donizetti daughters
This Sunday marked a muted return of the Richard Tucker Foundation Gala, which had the dubious distinction of the fourth edition not to feature a prizewinner and perhaps the first not to provide complete orchestral and choral accompaniment for its performers.
Chopping up the action and dutifully showing each plot point may work in a film but in an opera, where every piece of marginal dialogue must be set to music, it feels like a chore.
In Handel’s Rodelinda, a usurped monarch, believed dead, returns to avenge his deposition and reclaim the woman he loves.
I hate to say I nearly cringe at the thought of Gioachino Rossini’s Il Barbiere di Siviglia.
On October 20th, a wet but warmish Friday night, the Metropolitan Opera opened this season’s revival of Verdi’s Un Ballo in Maschera in David Alden’s 2012 production.
It’s autumn in New York, baby.
On this day in 1965 soprano Renata Scotto made her Metropolitan Opera debut as Cio-Cio San
On February 10 of this year was the 100th anniversary of the birth of the great Italian basso Cesare Siepi. I found that this milestone was scarcely noted in the opera press.
Zack Woolfe of The New York Times remembers James Jorden
How appropriate that the Met should present this supposedly “Jewish” opera after many in the audience had just spent twelve days immersed in the genuine article over the High Holy Days.
One got a sense that the Met and the maestro directed most of the rehearsal and preparation toward the opening night premiere of the Heggie opus
On this day in 1965 soprano Mirella Freni and tenor Gianni Raimondi made their Metropolitan Opera debuts in La bohème.
“None of that sentimental crap, okay?”
Bay Area composer Mason Bates’s and librettist Mark Campbell’s contemporary opera about the life of the tech mogul Steve Jobs came home “to the place where it all began” in spectacular fashion
German opera-director Claus Guth has reimagined Schwanengesang as a series of scarred soldier’s visions in Doppelgänger, showing this week in at the Park Avenue Armory.
David Devan may be leaving the company, but there can be no better living tribute to him than this extraordinary work, which in 90 minutes gives us everything we could want from a new opera
Power struggles, prejudice, feuds and revenge abound in San Francisco at the moment.
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.