Those who want a rethought Lucia to allow the heroine more sense of agency will be especially confounded at Laurent Pelly’s reading.
It would be hard to imagine a more apt and poignant metaphor for the ambitious O18 Festival than the world premiere of Lembit Beecher and Hannah Moscovitch’s Sky on Swings.
How do you like your Carmen? Mezzo or soprano? Flirtatious? Confrontational? Smolderingly sexy?
Opera Philadelphia ended its season with Le Nozze di Figaro, Friday, and it will play May 3, 5, and 7—a matinee. Figaro is considered by most to be one of the few perfect operas and although it’s perhaps too easily encountered in routine run-throughs, there are usually rewards in seeing it.
Opera Philadelphia announced today that Lawrence Brownlee has joined the company as an Artistic Advisor.
Tancredi, given on February 10th, was a credit to Opera Philadelphia, who offered a well-considered and compelling production.
How Verdi’s opera might address this particular nightmare was unclear.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
In Charlie Parker’s Yardbird, an opera based on the famed jazz musician’s life, the title character asks, “So if there is a God, why does the negro suffer? Is my prayer, my music lesser, smaller in God’s eyes?”
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
Jarrett Ott is a star. That is the only surprise takeaway from the well-intended snore, Cold Mountain.
The Apollo Theater and Opera Philadelphia just announced that Charlie Parker’s YARDBIRD will have its New York premiere in a co-production between the two institutions, April 1 and 3, 2016.
Lisette Oropesa sang “The Lost One”—the meaning of “traviata.”
It’s a place where the one thing you can expect is the unexpected. The place is… Philadelphia?
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.
