Hilda Harris and Catherine Malfitano in an 1981 broadcast to celebrate the 100th anniversary of Ravel‘s opera
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Parterre Box welcomes pitches from all interested writers—even those not endowed quite as pictured.
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
The conclusion of the Metropolitan Opera’s annual competition, live from New York
A live broadcast from New York – and Lise Davidsen‘s final broadcast before her maternity leave!
Fidelio, which opened last week at the Metropolitan Opera, will always be relevant, I fear.
The term “narrative prosthesis” refers to the tendency for works of literature to use disability as the conflict upon which the whole narrative hinges. Herman Melville’s Moby-Dick is a quintessential example of “narrative prosthesis.”
“Baritone Thomas Glass will sing the role of Starbuck in tonight’s performance of Jake Heggie’s Moby-Dick, replacing Peter Mattei, who has withdrawn due to illness.”
A 2010 broadcast documenting Yannick Nézet-Séguin‘s Metropolitan Opera debut performances
Leonard Bernstein conducts a performance recorded in New York in 1964
The Metropolitan Opera has revealed its upcoming season.
Jessye Norman sings the title role of a performance recorded in New York in 1985
George London and Leonie Rysanek lead a performance from 1960
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
