A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Austin Opera’s moving production of Fiddler on the Roof grounds itself in lived tradition, to great effect.
Austin Opera’s 40th anniversary gala celebrated the present while gesturing boldly towards the future.
“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”
A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore. Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
Director Barrie Kosky brings to Fiddler on the Roof fascinating ideas, fine casting, equal mixes of comedy and sadness, and, from the beginning, a sense for we of the audience that we were about to spend three hours in very good hands.
Steve adored puzzles, solving them and creating them, so it makes you wonder that this one continued to fester—was that so few of his songs attained the rank of “standard.”
On this day in 1986, the Metropolitan Opera opened its season with a new production of Wagner’s Die Walküre.
If opera as a genre in justified in its claim to one particular story, history confirms that the Orpheus myth would be that story.
With the help of our friends at ArtHaus Musik, the Deutsche Oper Berlin have really been emptying out their archives and that’s certainly all for the good.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.