The long-awaited return of the “Jambon d’Or,” featuring bass-baritone (?) Liudas Mikalauskas. [kml_flashembed movie=”http://www.youtube.com/v/TNW8wOQ6hq8″ width=”425″ height=”350″ wmode=”transparent” /]
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.
If you ever wondered, cher public, what Adriana Lecouvreur would look like as a Charles Busch “Grande Dame Guignol” epic, well, now here’s your chance. (It’s surely coincidental, though serendipitous, that mezzo-soprano Marianna Bódi so closely resembles Olivia de Havilland circa Lady in a Cage.)
Now, stop La Cieca if she’s wrong, but it seems to her that the concept for this production of Carmen is that Escamillo is a 1970s gay clone. Well, no, La Cieca doesn’t get it either. But see for yourself: [kml_flashembed movie=”http://youtube.com/v/6F_hltdh1KE” width=”425″ height=”350″ wmode=”transparent” /]
Announcing a new category on parterre.com, an award of sorts for examples of the garish, the gaudy, the over-the-top in things operatic. Not filth, mind you — we’re talking good, but just, you know, too much. La Cieca’s special jury prize for this type of operatic ham will be called “Le Jambon d’Or,” and our…
