To make a success of the Empress in Frau ohne Schatten, it is not enough to be a fine singer and a great actress.
I trust, fellow Parterre readers, that we can all agree that Riccardo Muti is a great opera conductor.
Whether an opera by Puccini, Verdi, Wagner, Strauss, or Berg, Dimitri Mitropoulos brought to the podium a total understanding and love for each score he touched.
I first experienced the magic of Seiji Ozawa in 1972 when I was 12 years old.
He has conducted some of my favorite opera recordings.
Parterre Box previews Kathryn Lewek‘s upcoming Salome with clips of her as another unhinged lady of antiquity.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
I was a huge fan of Anna Netrebko.
Shirin Neshat‘s Aïda in Paris is a typical instance of what happens when an artist is brought in to direct an opera.
This performance truly “never fails to lift my mood.”
A performance recorded earlier this month in Salzburg with Lisette Oropesa and Kate Lindsey
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
Peter Sellars‘s triple bill of Viennese modernism featuring Erwartung and a concert performance of The Raft of the Medusa stare down death at the Salzburg Festival
Lisette Oropesa and Kate Lindsey star in a live video broadcast from Salzburg
A live broadcast from the Salzburg Festival
Asmik Grigorian’s scorching turn in Il trittico in Paris has Nigel Wilkinson wondering, ‘what is it that makes Americans so weepy?’
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
In 1972, when I was 12 years old, my mother took me to the Salzburg Festival.
A stylish and funny Così fan tutte at LA Opera is a pretty glam affair, according to Patrick Mack.
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
A perfect meeting of voice with composer occurred when Arleen Auger took part in the rediscovery of early works by Mozart.
If song recitals by opera stars Piotr Beczala and Asmik Grigorian sometimes came up short, Semyon Bychkov’s powerful rendition of the Glagolitic Mass instantly became one of the year’s highlights.
It surprises even me how some operas have eluded me in live performance even after lo, these many years. One of them is Gounod’s Roméo et Juliette.
As for complete recordings of Il trovatore, which was discussed at some length last week, there are at least 200 of them, both studio and live.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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