I have to admit, I am not one often seen on the Great White Way; musicals aren’t usually my cup of tea. So as I was charged with reviewing a new musical, Whida Peru: Resurrection Tangle last night at 59E59 Theaters, I decided to call in reinforcements. I brought an amazingly talented and breathtakingly beautiful…
Packaged with a peek-a-boo cover exposing only Bryn Terfel’s lovely left eye (the effect of turning the page to reveal the Welsh bass-baritone’s head in its entirety brings to mind this Encyclopedia Dramatica entry) and an oddly hip-hop-flavored gray-on-black treatment of the album’s title, Terfel’s Bad Boys seems designed for those who like their divos…
I own almost every recording of the 13 operettas Sir Arthur Sullivan wrote with W.S. Gilbert ever made. Twelve Mikados, 14 Pirates of Penzance, 10 Iolanthes, right on down the line to the rarely heard Utopia, Ltd. I was a G&S fan long before I got into opera; when I was a teenager, their operettas…
Saturday evening Kiri te Kanawa sang the first of her final two Marschallins at the Cologne Opera House. The reason for this rather unexpected return to one of her signature parts seems to have been a sentimental one:
Boy, this review practically writes itself. I’ve heard Jonas Kaufmann’s Alfredo live and was duly impressed, so I was thrilled to have the opportunity to review this recording. All I can say about Jonas Kaufmann: Mozart, Schubert, Beethoven & Wagner (Decca 4781463), to be released April 6, 2010, is that it went straight to both…
My tolerance for 17th century opera is generally low, but even I can appreciate the value in an underappreciated composer like Francesco Cavalli.
When I saw this CD was coming out my first thought was, “Why?” We already have brilliant recordings of “Die Schöne Müllerin” from artists like Fritz Wunderlich, Dietrich Fischer-Dieskau, et. al.
With the production of Siegfried, the “Ring for the 21st Century” staged by La Fura dels Baus finally hits its stride.
I have heard Gerald Finley live and enjoyed his singing immensely. He possesses a strong, resonant, lyric baritone, even of scale and beautiful of timbre. His biggest successes to date have been creating the roles of Oppenheimer in John Adams‘ Dr. Atomic and Harry in Mark-Anthony Turnage‘s The Silver Tassie. He includes selections from both…
I have to confess that I overheard that line during the intermission of the Met’s new production of Amboise Thomas’s seldom-performed Hamlet based on Shakespeare’s oft-performed play. I couldn’t have said it better myself.
“After all that, it would be gratifying to declare Petersen’s debut a ‘star is born’ moment. But… she was pretty much a nonstarter, her Ophélie hovering on the cusp of inaudibility in midrange and shrill on the highest notes.” [NYP]
Although she has made headlines on this side of the Atlantic largely because of her recent dismissal by Franco Zeffirelli from a Roman production of La traviata on the grounds of “physical inadequacy,” Daniela Dessì is a topflight star in Europe. In her native Italy she is arguably the most popular soprano currently active. Over…
Let me take you back, Parterreians, to the spring of 2009. Shortly before the Met’s new La sonnambula opened, murmurings began to be heard, rumors began to circulate. After the open dress rehearsal, reports were filed as opera fans looked on in horror. At the première, a shell-shocked audience rained down boos on the production…
I really haven’t paid much attention to “opera regie,” so I can’t give you a firm definition of it. A while ago, a pithy and biting piece called “How to Opera Germanly” made the internet rounds, and it serves as a handy guide for we who are un- or under-initiated. This production of Haydn’s Orlando…
First things first: how are the clothes? Well, there’s enough leather to fill The Eagle ten times over, and there’s definitely fodder for intermission conversation: an adorable tweedy, puffy coat for Uldino; the pimped-out spiky bike helmet with the L.E.D. lights for Attila; all the L.E.D. lights in fact, like the ones that outline Ezio’s…
This month Deutsche Grammophon will scrape the bottom of the barrel and present a new recording of Leoncavallo’s genre-bending “symphonic poem for tenor and orchestra” La Nuit de Mai, studded with stars Plácido Domingo and Lang Lang. Dark horse Alberto Veronesi conducts — indeed, the same Muti-maned steed who was recently announced to succeed Eve Queler…
The Catalan theatre company La Fura dels Baus, under the baton of Zubin Mehta, brought forth a new production of Wagner’s Der Ring des Nibelungen in 2007 in Valencia. The brochure for the DVD release calls this “A Ring for the 21st Century” and tells us that stage director Carlus Padrissa has employed “…imagery for…
Rome, June 16, 1800. Emilia sits in the lodge of Palazzo Farnese, of which she is the doorkeeper. She is a resilient, strong-willed and somewhat hardened woman. After all, she has long been in the employ of the Palazzo’s formidable occupant, Baron Scarpia, and witness to so much of his wickedness.
Christoph Willibald Gluck’s Orphée et Eurydice marked an epic first, a turning point in the history of opera. In this, the first of the composer’s “reform” operas, his intention was to take the opera seria style popular at the time and to boil it down to its purest dramatic elements, creating an opera of “noble…
Sometime in the late 1950s, the management at Glyndebourne had the good idea to make archival recordings of the performances there, and these recordings, duly remastered and transferred to digital form, are gradually coming before the public through Glyndebourne’s house label. Thus it is that we find ourselves with this early release, a recording of…
It took the Metropolitan Opera decades to catch up with the rest of the world and finally stage La Cenerentola. Gioachino Rossini’s opera buffa, one of his most beloved and accomplished works, received its belated Met debut in 1997, amidst legitimate suspicions that the new production was less a genuine desire to add a belcanto…
“In space, no one can hear you scream — but in a planetarium, everyone can hear you sing.” Our Own JJ (not pictured) reviews Haydn’s Il mondo della luna. [NYP]
Okay, Justin Davidson, it’s on.
Some composers write as if the dividing line between instruments that play notes and the voice, which usually sings a text and takes some of its attitude towards the music from that text, were not an all-important factor.
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.
