To conclude its triumphant season, last week the Met Orchestra performed its annual Carnegie Hall concerts under music director Yannick Nézet-Séguin and once again performed superbly.
parterre box, “the most essential blog in opera” (New York Times), is now booking display advertising for summer 2022. Join Carnegie Hall, Lincoln Center, Warner Classics and many others in reaching your target audience through parterre box.
No, we don’t really need another “Orpheus” opera. Or, rather, we don’t need this one.
With composer Terence Blanchard and librettist Kasi Lemmons‘ incendiary Fire Shut Up in My Bones, the Met makes long overdue history and Will Liverman ascends to superstardom.
This was a great and happy event, but it wasn’t so much a musical one.
New productions of Aida, Die Zauberflöte, and Don Giovanni and Met premieres of The Fiery Angel and Dead Man Walking headline the Metropolitan Opera’s 2020–21 season.
Joyce DiDonato’s take on Winterreise is a conceptual misstep that, song after song, frustratingly dilutes and distracts from an often rewarding musical performance.
Maestro Yannick Nézet-Séguin, always with a gift for gab, is ever more loquacious in concerts, often talking directly to the audience.
The Philadelphia Orchestra’s opening night concert, for better or worse, was not a gala evening starring Plácido Domingo.
“Die Zauberflöte is an opera!” “No, it’s the first musical comedy!”
With the Philadelphia Orchestra’s Candide, they saved the best (of all possible worlds) for last.
Elina Garanca was radiantly present at Carnegie Hall Friday night performing a ravishingly somber Rückert-Lieder with Yannick Nézet-Séguin and the MET Orchestra.
Yannick Nézet-Séguin’s “Music of Faith” with the Philadelphia Orchestra was a sensational concert, perhaps the best I’ve heard in more than a season.
Our Own Joel Rozen in Slate ponders the good gay vs. bad gay politics of Zachary Woolfe‘s New York Times celebration of Yannick Nézet-Séguin.
Now, you would think nothing could please gaycentric La Cieca more than yesterday’s New York Times profile of the Met’s new music director…
Philadelphia is a city famous for its musical institutions—so, of course, at this time of year Messiah performances abound.
The frequently-omniscient Future Met Wiki has recently vouchsafed a few morsels about upcoming Met seasons.
Though orchestrally lavish, this “semi-staging” delivers less theater than no staging at all.
Yannick Nézet-Séguin‘s triumphant Elektra at the Met was the subject of parterre box’s most-read article in March 2018.
Coming up at 3:15 PM, Yannick Nézet-Séguin conducts Mahler’s Symphony No. 8.
Yummy Yannick Nézet-Séguin belts out a song in a Met practice room.
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.
Maestro Yannick Nézet-Séguin has been doing heavy lifting not only in the metaphorical but in the literal sense as well.
One of the greats of classical music, Franz Joseph Haydn was a bit of an “also-ran” as an opera composer.
The list of Anna Netrebko/Yannick Nézet-Séguin collaborations has expanded once again.
parterre box, “the most essential blog in opera” (New York Times), is now booking display advertising for fall 2022. Join Carnegie Hall, Lincoln Center, Warner Classics and many others in reaching your target audience through parterre box.