In recent years, Opera Paralléle has established a reputation for creative programming of contemporary opera in San Francisco. Persuaded both by the promise of an unusual Bernstein-Heggie double bill, and the unusual venue of SF Jazz’s Miner Auditorium, I had the pleasure of attending an excellent production this past week.
La bohéme returned to the stage of the Metropolitan Opera once again last night (does it ever leave?)
There are two delights here: a delectable score too rarely heard and an introduction at close quarters to half a dozen young singers ready for takeoff, indeed already flying.
It was an afternoon of spectacular singing, particularly from the two principals and the glorious Lyric Opera Chorus.
The Met’s magnificent revival which opened on Monday night with a superb cast under the mesmerizing leadership of Yannick Nézet-Séguin nearly converted me into a devoted Parsifal disciple.
For all the company’s good intentions this opera-dance combo was not one of its happiest outings.
The arrival of a new recording of Giuseppe Verdi’s Otello into the catalogue, to say nothing of a new tenor capable of singing Otello, is generally cause for hosannas all around in operatic circles.
While Farinelli and the King isn’t the only Broadway play to have explored castration (Sweet Bird of Youth, anyone?) it’s likely the first to concern a legendary 18th century opera star.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
Mariachi bands travel the world, make appearances in Hollywood, and moonlight on Linda Ronstadt albums.
One of the greats of classical music, Franz Joseph Haydn was a bit of an “also-ran” as an opera composer.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
Out of a literal perforation in the horizon of the Nebraskan prairie emerges Proving Up, the most convincing case I have ever seen for modern American opera.
Touting an austere, governessy program—the hour-and-change Schubert/Müller cycle, Die schöne Müllerin—Jonas Kaufman fulfilled his long-awaited, high-profile return to Carnegie Hall last night.
Good singing and a dramatically potent (if conservative) production were an unbeatable combination in the Metropolitan Opera’s season premiere of Donizetti’s L’Elisir d’Amore.
There is some difficulty in describing just what IYOV the musical occasion is—and I’ll take refuge in calling it a musical work in the current PROTOTYPE Festival.
It’s perhaps because Puccini is the master of operatic pathos that Tosca has proved so hard for people to get a handle on.
Recorded on 7 May 2017, 50 Years at Lincoln Center: A Gala Celebration features three dozen Met singers of the present decade, from A(ngela) to Z(eljko).
Composer Gregory Spears is a unique example of this maxim that one must be “deeply rooted in tradition in order to innovate with integrity.”
Though the novel’s structure and texture are often compared to musical forms such as Wagnerian music-drama, who would attempt to turn Proust’s A la Recherche de Temps Perdu into opera?
Headlining the Met’s current revival of both Cavalleria Rusticana and Pagliacci, Roberto Alagna was operating on all cylinders Monday evening.
Der Rosenkavalier (on Blu-ray and DVD) is from the Met HD broadcast which also happened to be the final performance of the run, becoming a true souvenir of the farewells of its two leading ladies.
The Eloquence label of Australia, the down under-arm of Decca and now by extension Deutsche Grammophon, seems to specialize in the re-release of “Auld Lang Syne” treats.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
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.
