Wild horses Wild horses

This video recording of Il trovatore is sensational for all the right and wrong reasons simultaneously.

on June 30, 2020 at 2:42 PM
Dueling duels Dueling duels

Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.

on June 29, 2020 at 1:58 PM
Jawdropper Jawdropper

Robert Wilson is many things: a visionary (certainly); an iconoclast, artist, director, and designer of sets, lighting, costumes, movement (and furniture). Yet his work is never boring (well, at least not intentionally).

on June 16, 2020 at 3:24 PM
Golden splendor and hell Golden splendor and hell

I have seen all sorts of Boris Godunovs, but nothing quite like this.

on June 08, 2020 at 1:19 PM
On the beach On the beach

On the first viewing of this Idomeneo, with a cast clad mostly in military khaki green set against a green sky, the eye starts to tire from the dullness of the surroundings.

on June 02, 2020 at 11:23 AM
Tusk to tusk Tusk to tusk

Mascagni’s Cavalleria Rusticana has always been a particular favorite, although I’ve only seen it staged once (and that by an amateur company the details of which I share spare you all, save to note that dinner was served during the performance.)

on May 27, 2020 at 2:11 PM
‘Lady’ Willpower ‘Lady’ Willpower

Lady M, an Online Fantasia on Verdi’s Macbeth, Heartbeat Opera’s creative and thought-provoking foray into the Zoom opera scene, left me feeling alternately pensive, hopeful and somewhat uneasy, in a good way.

on May 12, 2020 at 3:30 PM
Changing the lockdown Changing the lockdown

HERE’s Zoom opera, all decisions will be made by consensus, is not merely an opera written to be performed on a digital platform, but an opera that critiques the platform itself, laying bare all its social and aesthetic limitations.

on April 26, 2020 at 1:28 PM
To love the language To love the language

With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.

on April 15, 2020 at 12:50 PM
What women want What women want

While isolated opera-lovers intently navigate the deluge of streaming videos being made available, I’ve been listening rather than viewing.

on April 14, 2020 at 4:04 PM
Sisters were doing it for themselves Sisters were doing it for themselves

What we see here from Strasberg is frustratingly literal and drably conventional—it looks to me like he’s channeling a lot of received wisdom about how Chekhov should be staged and bringing almost nothing of his own to the process.

on March 23, 2020 at 9:00 AM
Ghost “Story” Ghost “Story”

Time to stop being coy, I think. You and I had quite different takeaways on the show, didn’t we?

on March 18, 2020 at 4:45 PM
Photographic memory Photographic memory

For a show set during the hardscrabble 1930s, very few of the performances give off an air of downtroddedness.

on March 13, 2020 at 9:00 AM
Group therapy Group therapy

As long as women have been preyed upon, Don Giovanni has been relevant.

on March 10, 2020 at 1:31 PM
Unfinished sympathy Unfinished sympathy

It’s difficult to discuss Unknown Soldier without considering the impact of legacy.

on March 09, 2020 at 8:47 PM
From the HIP From the HIP

We are in the midst of a titanic Beethoven onslaught prompted by the unstoppable need to commemorate the composer’s upcoming 250th birthday.

on March 09, 2020 at 5:54 PM
Kebabs in the Persian Room Kebabs in the Persian Room

Ester, Liberatrice del Popolo Ebreo was presented in concert on Thursday night by Salon/Sanctuary Concerts in the Brotherhood Synagogue on Gramercy Park, in proper time for Purim.

on March 09, 2020 at 9:49 AM
Taking care of business Taking care of business

Not everyone is happy about the Beethoven sestercentennial.

on March 06, 2020 at 11:19 AM
What is normal? What is normal?

That question hung in the air when Teatro de la Zarzuela Madrid revived Tomás Bretón’s opera Farinelli for first time since its premiere in 1902.

on March 05, 2020 at 2:19 PM
Well equipped Well equipped

While last year’s finals were dominated by early nineteenth-century bel canto arias, this year’s finalists took on a remarkably broad range of music from a variety of repertoires.

on March 04, 2020 at 11:56 AM
My heart belongs to mama My heart belongs to mama

VIctor Herbert demonstrates in this slight, affectionate piece a talent for keeping his musico-dramatic balls in the air, as Madeleine’s spirits juggle, fall, rise again, and droop to elegant resignation at the last.

on March 04, 2020 at 11:31 AM
A dark drab dud A dark drab dud

I never imagined I’d see such a rote park-and-bark Wagner production created in 2020!

on March 03, 2020 at 12:16 PM
A change is gonna come A change is gonna come

In the opera world, one of the pieces that underwent a multitude of changes in its reception was undoubtedly Richard Wagner’s longest and most Germanic opera, Die Meistersinger von Nürnberg.

on March 01, 2020 at 1:34 PM
One goddess, one Hallenberg! One goddess, one Hallenberg!

Although I usually pretend that I don’t have the diva-worship gene, sharp-eyed readers of parterre box will know that since I joined the site in 2011 as “DeCaffarrelli” I have often swooned as an Ann Hallenberg-fanboi.

on February 28, 2020 at 11:58 AM