Before rehearsals for Madama Butterfly started, Phil Chan sat down with the box to chat about his production, opera’s cultural appropriation problem, and why the last thing he’s trying to do is cancel Puccini.
By Harry Rose
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Save the Date: Celebrating James Jorden — Feb 3, 2024
Join Parterre Box for a celebration of James’s life and legacy the afternoon of February 3, 2024 in New York City.
From Christian martyrs to naughty fairies, Teatro Nuovo will explore the tragic and comic sides of 19th century Italian Opera.
By Eli Jacobson
Ghost sex is part of the popular zeitgeist.
By Max Keller
New York Times Classical Music Editor Zachary Woolfe (pictured) joins #KikiKonversations with Karen Slack.
By La Cieca
The first part of a chat with the dramatic mezzo-soprano.
A conversation with maestro Gil Rose of Odyssey Opera.
By John Yohalem
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
In this recital, the Polish bass-baritone Tomasz Konieczny and his pianist Lech Napierala present the world premiere recording of Stanislaw Baranczak‘s Podróz Zimowa (Winter’s Journey), which weds the poet’s meticulously crafted poetry to the music of Franz Schubert.
Next Marko Mimica discussed which music “reached” him most and how he regards expressing himself in various languages.
By Niel Rishoi
Next, I asked Marko Mimica which basses he prefers to listen to on recordings.
By Niel Rishoi
In Bellini’s opera Norma, the “padre” role of Oroveso, it may be safely said, is “undistinguished”—dull and conventional. The bass entrusted with the role usually will engender two reactions: more frequently than not, “Cut this boring music,” and rather more rarely: “What a pity Oroveso doesn’t have more music.”
By Niel Rishoi
How did you first grow interested in singing?
By Niel Rishoi
Never in my wildest dreams did I imagine I would be having lengthy telephone conversations with John Raitt.
By Niel Rishoi
Mezzo Rinat Shaham takes a short break from being the world’s busiest Carmen and rehearsing for the theatrical concert “The Sorrows of Young Werther” to dish with your doyenne.
By La Cieca
Fifteen years after his first parterre box interview, that criterion of countertenors David Daniels speaks of Oscar Wilde, Marilyn Horne, marriage and political art.
By Roy Wood
Our Own Poison Ivy interviews conductor Alain Altinoglu over at her own blog, Poison Ivy’s Wall of Text.
By La Cieca
American mezzo Jamie Barton, who has steadily been winning fans in the US over the past few years for her rich and nuanced singing, took the international opera world by storm last weekend by winning both the Song Prize as well as the overall prize in the BBC Cardiff Singer of the World competition.
Beatrice di Tenda was a problem child, Vincenzo Bellini an alternately protective and disparaging parent.
By John Yohalem
Recently your doyenne engaged in an email-based interview with David Alden, director of the Met’s new production of Un ballo in maschera, opening on Thursday.
By La Cieca
Composer Nico Muhly took a break between operatic world premieres to order a daiquiri and talk to our own JJ about height, haters and flight path. [Capital New York] (Photo: Peter Ross)
By La Cieca
I was on the bus to Nürnberg today on the way to do Wagner tourism and hear Herr Sacro Fuoco tomorrow, and on the way I translated the juicy bits of the full print edition Anna Netrebko article… I was going to post it as a comment but it turns out I thought a lot…
Though Margaret Juntwait may have caught him pitifully unprepared, James Levine did say a few words for those lovely people among the Sirius audience last night during the intermission of Ariadne. Those of you who missed this singular event may want to take a peek after the jump.
By La Cieca
Our own JJ “sits down” (figuratively speaking) with Robert Lepage to “talk” (also figuratively speaking) about his production of The Nightingale and Other Short Fables, opening tomorrow night at BAM. [New York Post]
By La Cieca
