This is one of my favorite operas, and visually and story telling-wise, you can’t beat this production.
One final appeal for you to share what most titillates you in the upcoming season for September’s The Talk of the Town
This performance represents a perfect alignment of piece, performer, director, and conductor – the epitome of Gesamtkunstwerk.
Rita Gorr as Ortrud, Bayreuth, 1959, Cluytens.
The superb 1958 Bayreuth Lohengrin, under the wonderful Cluytens.
Recency bias is in full swing here, but Glyndebourne’s first ever staging of Parsifal – and my first Parsifal – takes top prize for me.
I went to hear Eileen Farrell conducted by Leonard Bernstein at the Philharmonic in 1970.
I suppose Der fliegende Holländer is my favorite Wagner opera — a riveting masterpiece from start to finish, dramatically and musically.
Eleanor Steber and Wolfgang Windgassen in the Act III bridal chamber scene of Lohengrin.
Mady Mesplé’s voice has, sadly, become an acquired taste.
I never got to hear Silja in person, and I suspect I should have for me to even begin to appreciate her.
This clip is a strong case for leaving non-operatic music alone.
Carmen Paddock and Mr. Portafiori aren’t getting the hype behind Ivo van Hove, Krzysztof Warlikowski, and Calitxo Bieito
I know, as a musical gay boy d’un certain âge I supposed to consider this the great American opera, the equal if not superior to anything by Britten and preferable to any of that atonal garbage from the Continent.
I just don’t get Der Rosenkavalier except for the plum moments like The Presentation of the Rose and the Final Trio which for me satisfy my indulgent sweet tooth.
By giving Orfeo ed Euridice a happy ending, Gluck ruined a wonderful score.
Yes, Ermonela Jaho is a compelling swooner. But is she a great singer? I have yet to be convinced!
Parterre Box over the last few years has become the MOST USELESS website.
Jake Heggie writes operas like a Restoration Hardware couch—soft, expensive, and allergic to mess.
The musical virtues of Anna Moffo have heretofore eluded me.
It’s like making love with someone whose rap never ceases—and includes “helpful suggestions” about how you can be improving your game.
Despite having endured premiers at the Santa Fe Opera, including Cold Mountain, Oscar, and The (R)evolution of Steve Jobs, all of which were disappointing on every level, Santa Fe Opera’s 2011 production of Menotti‘s The Last Savage is an opera I never care to see or listen to again.
Joan Sutherland as Norma is something I’ve never been able to get.
I don’t understand the booing of singers, whether it’s booing bad characters, or booing singers who don’t live up to the booer’s expectations.
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.
