In memoriam Pauline Tinsley
Pauline Tinsley, who died May 11, made few commercial recordings; Trove Thursday offers the thrilling English soprano in excerpts over nearly two decades from nine works ranging from Handel to Richard Strauss.
68 pieces since 2007.
Pauline Tinsley, who died May 11, made few commercial recordings; Trove Thursday offers the thrilling English soprano in excerpts over nearly two decades from nine works ranging from Handel to Richard Strauss.
David Alden’s acclaimed production of Leos Janácek’s Jenufa was mounted for its final performance of the season during the evening that I experienced my first opera at Santa Fe.
Everett Quinton’s Galas is a star at the end of her tether, and she goes nova with the best.
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
Beautiful singing, thoughtful staging, lovely melodies… a perfect escape from daily life.
Sometimes the fates conspire, preventing an artist from recording the role for which he is his generation’s touchstone.
Celebrating Lenny’s 100th this year has made Candide ubiquitous at opera houses worldwide.
Why, only now, Cendrillon is having its premiere at the Met is a puzzling question.
Neumeier adapted the story close to home, making Orpheus a choreographer and his wife a star ballerina.
Erin Wall was an elegant, warm, and sensitive Arabella.
When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
Bard College presented a semi-staged concert of Halka on Saturday evening as part of its impressively wide-ranging two-week “Chopin and his World” festival.
I finally get to complete my personal operatic Top Ten this week with Igor Stravinsky’s only full-length opera, The Rake’s Progress.
Thanks to the generosity of a parterre reader, “Trove Thursday” presents a rare recording from the famed Carnegie Hall series curated by Matthew Epstein to commemorate Handel’s tercentenary.
I realized I hadn’t yet posted anything featuring one of the “Queens of the Bootlegs,” so I now correcting that with Puccini’s La Fanciulla del West starring the great Magda Olivero as Minnie.
Los Angeles first saw Giacomo Puccini’s Madama Butterfly presented at the Mason Opera House downtown in 1908 by the English Grand Opera Company. Rumors that LA Opera Artistic Director Placido Domingo portrayed Cio-Cio San’s little boy in that production remain unsubstantiated.
This week “Trove Thursday” brings a rare in-house recording of a visit to the Metropolitan Opera House by the Staatsoper Hamburg presenting Stravinsky’s The Rake’s Progress with a deluxe cast
Fifteen years after his first parterre box interview, that criterion of countertenors David Daniels speaks of Oscar Wilde, Marilyn Horne, marriage and political art.
After Heart of a Soldier, The Perfect American, The Gospel According to Mary Magdalene, et al., the premiere of Theodore Morrison’s Oscar in Santa Fe last Saturday came as a welcome relief.
A Dutch-speaking parterrian has graciously translated the interview with Piotr Beczala that’s been causing such a foofaraw lately.
Nearly 30 years after a Handel opera last played there, Carnegie Hall presented The English Concert opening a three-year opera-oratorio project on Sunday afternoon with Radamisto.
Say this about Oedipus: The character’s got staying power.
You Parterrestrials know all about Santa Fe Opera’s amazing mountain setting and open-sided theater affording breathtaking sunsets, weather-related drama and–when the back stage wall is opened–starry backdrops, but it was my first visit, so indulge me a little.
As a child I had but a few criteria that were necessary to ensure a happy entertainment. These included mostly ball-gowns, fairy godmothers and Julie Andrews, though Sally Ann Howes was acceptable in a pinch.
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