It seems at first glance to have come from sort of jukebox musical auto-generator — Sir Philip Sidney’s epic poem of good governance and inappropriate desire, the Arcadia, with the music of chart-topping New Wave girl group The Go-Go’s? What kind of half-baked post-Mamma Mia cash-in is that? Read more »
In lieu of a parterre box review of Mostly Mozart’s Mass (none of the our bullpen showed any interest in taking the piece on), here’s what Zachary Woolfe has to say: “I think that if it’s not [Bernstein’s] worst, it surely reflects his worst tendencies: his allergy to self-editing, his saccharine streak, his embarrassing wordplay, his obsession with (and tone-deafness toward) youth culture, his weak counterfeits of pop styles.” [New York Times]
parterre box, the world’s most widely-discussed online opera magazine, is now booking advertising for the 2018 fall season. We offer spaces and rates to suit everyone who is interested in reaching parterre’s vast and discerning audience. Email us at advertising@parterre.com and be sure to ask about our deep not-for-profit discounts!
The New York Times has the scoop! At long last (and about fucking time) undisputed genius Stefan Herheim will make his Metropolitan Opera debut in “a future season,” staging Les Vêpres siciliennes. Read more »
A letter to the New York Times from the the company’s doughty press director Tim McKeough addresses the recent spate of running around with hair on fire about James Levine‘s artistic legacy.
In a steampunk moment, 21st century singers try on 19th century technology.
Yummy Yannick Nézet-Séguin belts out a song in a Met practice room.
Has anyone who assigned, wrote, edited or published this piece ever seen My Fair Lady?
Maestro Yannick Nézet-Séguin has been doing heavy lifting not only in the metaphorical but in the literal sense as well.
Cher Public