Love makes fools of us all – that seems to be the theme of this summer’s Glimmerglass Festival.
Only three years separate the creation of The Most Happy Fella (1956) and The Sound of Music (1959), but there’s a proverbial ocean between these two Golden Age musicals are being performed at prestigious festivals this summer.
The Glimmerglass Festival premiered a searing examination of race, identity, and the fraught relationship between communities of color and law enforcement. Blue, with a score by Jeanine Tesori and libretto by Tazewell Thompson.
Blackhurst replaces Christine Ebersole, whose commitments have changed this summer due to professional reasons.
Sunny, lakeside Cooperstown presents a peppy, exuberant, winning production of West Side Story, the musical.
The turntable set looks much the same from any angle: gutted concrete tenements and perilous alleys, instantly recognizable as a scene of urban guerrilla mayhem.
The late-mid 1730s were transitional years for Handel, to put it nicely.
I have found myself truly bewildered by some of the online reviews of the Glimmerglass production of Verdi’s Macbeth.
The winds of change sweep across the first post-9/11 issue of parterre box, the queer opera zine.
June Anderson will make the transition into the “Anne Revere” segment of her career next summer when she sings the role of Elvira Griffiths in Tobias Picker‘s An American Tragedy at the Glimmerglass Festival.
Bass-barihunk Keith Miller has just canceled the remainder of his performances of his role debut as Escamillo in Carmen at the Glimmerglass Festival, citing “health reasons.” His first performance was last Saturday. No replacement casting has yet been announced for the remaining 14 performances through August 23.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
