“It was all surprisingly good? Even the Party Pork, which has you marinate a piece of pork neck in vermouth and steak seasoning. It shouldn’t work, and yet it did.”
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Act I is customarily omitted.
For your afternoon delight: the campy 1988 Franco Zeffirelli biopic starring C. Thomas Howell, Elizabeth Taylor and the decidedly un-campy singing of Aprile Millo.
I have to say I struggle with I Want to Live! The camp appeal of it—including Hayward’s performance—is undeniable… yet it’s also a sincere and even important movie.
Thank you, Jummy Jonas Kaufmann, for making us laugh at holiday crossover albums… again.
“Camp” is exactly the lens through which The Velvet Touch is best examined, including an utterly bewildering cross-pollinating of genres.
Another point of etiquette is that a gentleman must never leave the ladies of his own box alone.
To opera denizens, Terrence McNally is probably best known for Master Class, a fictionalized account of Maria Callas’s 1970s Juilliard master classes, which was a surprise hit on Broadway in the 1990s.
Tosca, as it exists now, can’t be real, spontaneous drama-it’s just Camp.
Today is Liberace‘s centennial!
“Dress fitting for my new role debut as Abigaille.”
The singularity of Stephen Sondheim contributes to the conception of him as a camp figure.
You naysayers out there who are guffawing at Renée Fleming’s long-anticipated descent into utter camp: hey, be nice!
Live from the Glyndebourne Festival starting at 1:30 this afternoon: a telecast of that campest of all camp operas, Vanessa.
The legendary performance of “Hey Big Spender” by Marilyn Horne, Carol Burnett and Eileen Farrell has shown up on YouTube.
La Cieca’s nomination for Song of the Year 2016: an elaborate but hideously tasteless unintentional joke.
Blood-and-guts singing is the reason to see Nabucco at the Metropolitan Opera this season.
Of all films to be adapted into operas, 1967’s Berserk! seems a most unlikely choice.
I think we can all agree that this Anna Pirozzi is the real thing!
“In naïve, or pure, Camp, the essential element is seriousness, a seriousness that fails.”
The Deutsche Opera an Rhein production of Handel’s Xerxes (which is shared with the Berlin Komische Oper), though I saw it three nights ago, has taken a while to settle down in my brain.
My first experience with John Corigliano’s music was in high school with the ear and mind blowing score he wrote for Ken Russell’s film Altered States.
Christopher Alden‘s production of Handel’s Partenope is so erudite and theatrically audacious and also such a rollicking ride, it’s hard to believe it isn’t crap.
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