I’ve enjoyed these streamed recitals, warts and all, and always appreciate the chance to watch performers let their hair down, so to speak.
The Metropolitan Opera National Council Auditions were one of the last events I attended in person in 2020. Now, one year on, the competition has returned, this time in an online format, and this time with an entirely new name: The Metropolitan Opera Eric and Dominique Laffont Competition, after the event’s new sponsors.
This solid if not stellar performance finds our diva in particularly passionate form. Maybe they should have re-titled it Maddalena?
Ombra Compagna, out today on Pentatone, spotlights Lisette Oropesa in 10 of Mozart’s most challenging concert arias accompanied by Il Pomo d’Oro conducted by Antonello Manacorda.
Opera is back, baby, and it’s good to be home!
The great Dalai Lama once said, “whenever there is a challenge, there is also an opportunity to face it, to demonstrate and develop our will and determination.”
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
If you missed Amour during its Broadway premiere 19 years ago, you’re not alone.
Starting March 19, Vocal Arts DC’s latest virtual concert lavishes listeners with a sumptuous recital of art songs from the Norwegian soprano Lise Davidsen.
HERE’s new radio opera marks itself out by leaning into the dramatic affordances of the audio-only format in No One is Forgotten, an adaptation of a play by Winter Miller with new music by Paola Prestini and Sxip Shirey.
Now, through the auspices of the Metropolitan Opera, we have Sonya Yoncheva—and if anything, the diva-dom has been kicked up a notch!
Giacomo Puccini’s La fanciulla del West may have its detractors (Stravinsky referred to it as a “horse-opera’) but you will not find me among them.
Whatever you think of Angela Gheorghiu, she epitomizes a star sound, the kind of voice that’s recognizable within three seconds, and she definitely knows her way around a performance.
Proudly and vividly on display was Anna Netrebko’s unique and glamorous ability to wear the music like a parade of couture gowns—some more sparkly than others, some a more flattering fit, but all thoughtfully chosen and laced into with care.
It was a meaty program. But both singers had the chops for it.
Opera Philadelphia Channel invites viewers to revisit a 2015 production of La Traviata, captured on the Academy of Music stage, that’s notable for Lisette Oropesa’s debut as Violetta Valéry.
Take it as a high compliment to the harrowing, riveting Soldier Songs that I was grateful it lasted only one hour. My nerves couldn’t have handled more.
Dancing sheep! Flying sheep! Flying sheep who dance!
Conceived by Adam Guettel as a song cycle that explores human relationships to the gods across the span of history into today, Myths and Hymns has been seen and heard in concert and staged settings, and some of the individual songs are often performed in cabaret.
The performance of an opera, indeed, seems almost a third narrative, atop the dreamer under the scientific microscope and the larva turning into a butterfly, and the mingling is not always clear—but then, clarity never seems to be the intention.
Like everyone reading this, I imagine, I’ve missed going to see and hear something in person more than I thought possible.
Call Out is an ample demonstration of Zachary James’ many talents—and an inspiring example of the artistic light that can be generated even when our theaters are temporarily dark.
The immediate and personal catastrophe interleaves with the general and universal and ancient.
Without furnishings to distract them, the cast prowled the stage with sinister energy, exchanging significant looks and deadly secrets as though fearing Nihilists behind every drapery.
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