Publish or perish? Why not both?
Last night was my fourth or fifth wade into the slough of Bartlett Sher’s production of Offenbach’s Les Contes d’Hoffmann at the Met since its premiere in 2009. While the show remains random and confusing, the evening had many memorable compensations, among them Johannes Debus’s stylish conducting, a no-holds-barred hero in Vittorio Grigolo and outstanding portrayals of two of the four women in his chaotic life by Erin Morley and Anita Hartig. Read more »
With today’s conclusion of a selected Rosenkavalier video overview in three parts, we leave behind the Vienna of the 1740s, the time of breeches, fans and white wigs. All three of the remaining performances reflect a modern trend toward setting Rosenkavalier in a less distant era, that of the opera’s premiere or a decade or two thereafter. Read more »
Fathead columnist fat-attack-shames fat-attack critics. Also, Tara Erraught is singing somewhere or something. [Slipped Disc]
parterre box, “the most essential blog in opera” (New York Times), is now booking advertising for autumn 2019. Email us at advertising@parterre.com and be sure to ask about our deep not-for-profit discounts!
Your doyenne peers into the future, or, to be more accurate, into the Future Met Wiki, to reveal the latest rumors on casting and repertoire. Read more »
La Cieca is gradually coming to the conclusion that Tara Erraught (pictured) has built her dressing room over an Indian burial mound.
La Cieca looks forward to seeing (in the virtual sense) all her cher public bright and early tomorrow morning for the webcast of the controversial production of Der Rosenkavalier from Glyndebourne.
The apparently underemployed mezzo Alice Coote has been hitting the laptop again, this time delivering a rant that only makes sense if you read it aloud, slurring, “An’ another thing!” after each paragraph.
There goes my very last nerve.
Cher Public