And what a luxury it is to experience this musically outstanding Parsifal with a cast of this caliber!
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
The past seems to be in conversation with the present.
Not in my wildest dreams could I have come up with anything more homosexual than the sight of Almodóvar muse Rossy de Palma in a stage-length wedding gown onstage Madrid’s Teatro Real.
The tragic speaker of Schubert’s Winterreise makes his fateful journey but once, yet some singers cannot help trodding the path again and again.
Since I began regularly attending performances at Lyric Opera of Chicago in 1999, I have been a great admirer of director Francesca Zambello’s productions.
“What I am trying to achieve is to be what I am to the fullest. Black to the fullest, a musician to the fullest, a homosexual to the fullest.”
And is this ‘Orpheus’ in the room with us right now?
Opera at the Kennedy Center has been in hibernation this winter.
It would be enough to compare his official studio recording of this work with the recent performances in Turin to confirm that today Riccardo Muti is no longer totally ‘Mutian’
Bay Area audiences starved for vocal fare during its opera’s winter/spring hiatus recently experienced two exceptional concerts with distinguished singing at the Davies Symphony Hall.
It’s not hard not to feel jaded about Romeo and Juliet.
Those of us in New York City who relish 17th century Italian vocal music were offered an enticing banquet over the past few weeks.
Émigré, unfortunately, fails to do justice, either musically or theatrically, to this group of refugees or to the Shanghainese who took them in.
From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.
What does it mean to be a “gender transcendent diva?”
Finding Britten’s The Rape of Lucretia on the Academy of Vocal Arts calendar was both a pleasure and something of a surprise—the latter because the work is far from central repertoire, even in a conservatory.
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
Leos Janácek’s rise to international prominence as a Titan of music was dovetailed by a cluster of profoundly original operas that were written during his extraordinary autumnal years.
Anna Bolena is one of the many works by Donizetti which, after their modern recovery in the second part of the last century, have both never fully left the stage while simultaneously never becoming a repertoire staple Lucia di Lammermoor or L’elisir d’amore.
I watched the finals for this year’s George and Nora London Foundation competition and would like to offer, if not a traditional review, a brief roundup of who I found exceptionally watchable and whom I think you, dear parterre boxers, should watch out for in the next few years.
The phrase “immersive Coffee Cantata experience” evokes being dipped into a giant, boiling vat of java.
With its sumptuous wood paneling, frescoed ceilings, and various Gilded Age trappings, the Park Avenue Armory’sBoard of Officers Room certainly is not a bad place to spend Valentine’s Day—even better when it plays host to equally sumptuous music-making.
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.
