We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
At Friday night’s performance of La Bohème at the Met, the cast seemed to lean into (and gamble upon) the production’s enduring popularity.
I find it difficult to experience Madama Butterfly without also experiencing an odd fracturing of the self.
I can’t think of an opera this year that I’ve enjoyed as much as Tuesday’s Met Macbeth, thanks especially to the smashing house debut of Italian soprano Anna Pirozzi as its blazing Madame M.
As the Netrebko-crowned Macbeth took to the stage at the Met, just a few blocks away, Teatro Grattacielo presented its 25th Anniversary Gala Concert.
I’m certain I wasn’t the only one thrilled to bits to see LA Opera’s production of La Bohème finally retired after 26 years and seven mountings.
For the academics who may be reading this: Let Me Die exists in a confounding but intriguing interpretive liminal space.
For more than 40 years, the magnificent opening image from Francis Poulenc’s Dialogues des Carmélites has served as an icon for the Met.
It’s a wonderful idea to cast Bohème with young singers, and these delivered astonishingly assured, confident, mature performances.
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
Sixty years ago today, Berg’s Wozzeck was first performed at the Metropolitan Opera.
Tuesday the Met unveils its sixth new production of La Traviata since moving to Lincoln Center.
Sunday’s sold out Carnegie Hall recital became a veritable love-fest between the Peruvian tenor and those assembled in the Hall.
In the Academy of Vocal Arts’s (AVA) clever pairing of two Puccini works, there was every reason to expect the fix was in.
Just over a month ago the great Catalan soprano Montserrat Caballé died at age 85.
“Trove Thursday” offers due local Lombardi: one with Renata Scotto and José Carreras, the other with Aprile Millo and Carlo Bergonzi.
Lyric Opera of Chicago resumed its season on Wednesday evening with the new-to-Chicago production of Puccini’s perennial audience pleaser La bohème.
As opera’s reigning tenor-superstar, Jonas Kaufmann can pretty much do whatever he wants and a sizable adoring public will lap it up.
It’s surprising to read that, as of this writing, La fanciulla del west has only had 105 performances at the Metropolitan Opera.
Puccini’s Girl closes out the 20th century and gallops into the 21st.
On Tuesday we got one of the Met’s inveterate classics, which meant yet another opportunity to gaze upon the old accessories: Donkey cart! Teal shawl! Fugly plaid slacks!
The Stars of Lyric Opera weren’t under the stars last night, prevented by a persistent cloud bank, but they nonetheless provided a stirring evening of music in Chicago’s Millennium Park.
Winsome, tony, and studded with overbooked bistros, Tanglewood is not exactly crawling with bohemians these days.
I have a confession to make. I have been taking Rigoletto for granted.
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.