A parade of young singers delight in an intimate Madama Butterfly at Amore Opera
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Following a review by Christopher Corwin, figures from in and around the box react to Pablo Larraín‘s new film Maria
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Christopher Corwin reviews Pablo Larraín‘s Maria
With Boston Lyric Opera’s largest opera production of the season already well behind us, the one-off semi-staged gala performance of Aïda held on Sunday at Emerson College’s Colonial Theatre to support the company’s vast education and community engagement apparatus, was a particularly enticing entry on the Boston cultural calendar.
It surprises even me how some operas have eluded me in live performance even after lo, these many years. One of them is Gounod’s Roméo et Juliette.
A revival of Huang Ruo’s M. Butterfly, a co-production between the Barbican and BBC Symphony Orchestra, landed in London last week.
Patrick Mack on the iconic Ethan Mordden‘s career and his first book on opera in 30 years – and it appears that time has mostly stopped in the Mordden manse.
On this day in 1965 soprano Renata Scotto made her Metropolitan Opera debut as Cio-Cio San
My vision may have been slightly blurry at the end.
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
You can imagine my surprise at encountering an almost wholly traditional staging with one teensy difference.
Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.
Madama Butterfly is the opera of the moment.
“I come, I come! ye have called me long;
I come o’er the mountains, with light and song”
Oh, La traviata, how do I love thee? Let me count the recordings.
Puccini’s schmaltziest, most melodic, most dramatically limp, most cynical, most obscure mature work
From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.
It is a measure of Verdi’s genius that throughout the four rambling acts, his musical invention in the service of creating characters never failed him.
parterre box is excited to present again Mike Richter’s collection of recordings of Rose Ader along with this biographical tribute in honor of a significant artist whose Jewish identity perhaps prevented her from achieving the renown she deserved
It says something about Boston’s opera scene that one of the most consistently ambitious events of the opera season is a one-off performance played by the Boston Youth Symphony Orchestras.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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