I braved the alarming and majestically colorful wall-graffiti-art of Bushwick to attend Bullfight Boylesque, which runs to October 28.
Celebrating its third anniversary and next week’s Met opening, “Trove Thursday” offers a sumptuous banquet of the third and final chapter of divas in the “wrong language.”
“Trove Thursday” gives a preview of Saint-Saëns’s Samson et Dalila with a broadcast featuring an unexpected temptress—Dolora Zajick—who will celebrate the 30th anniversary of her Met debut next month.
Winsome, tony, and studded with overbooked bistros, Tanglewood is not exactly crawling with bohemians these days.
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
C-major has made available the first DVD/Blu-ray of Franco Faccio’s Amleto.
I fucking love Renée Fleming.
Bellini’s Norma Monday evening didn’t at all improve on the production it was replacing.
No amount of scholarly diligence has kept Les contes d’Hoffmann from being the messiest of all standard-repertory messes.
You’ve got your “Night in the Museum,”and your “It’s All In Her Head” and your “Pantomimes of Childhood Trauma” and that’s all before halftime.
“Trove Thursday” celebrates the thrilling Finnish soprano Karita Matilla in the ultimate diva role.
For those who thought opera to be a rare enough commodity that there shouldn’t be duels, Saturday night in the Berkshires offered the odd rebuttal.
You’d think by now I’d know better than to make snap judgments about an opera or a singer—but apparently not.
If everything you see is great, you are either new to opera or chronically easy to please.
“Did you ever have the feeling that you wanted to go, and then you had the feeling that you wanted to stay?” This soul-searching question is likely running through the mind of Renée Fleming.
Be wary of operas that are famous for just one aria or just one famous opinion.
La Campana Sommersa (The Sunken Bell), which is being presented by the New York City Opera at the Rose Theater through April 7, is a true oddball.
So, how excited are you to read another piece about the Mary Zimmerman Rusalka?
With a cast of stellar singers and uneven direction by Mary Zimmerman, Dvorák’s Rusalka debuts in a new production at the Metropolitan Opera.
Today’s Rusalka video overview covers filmed performances of Dvorák’s opera since 2010.
>What does a great opera production do, and what does a bad production fail to do?
The 2016 Richard Tucker Award recipient is Tamara Wilson.
“Has anyone ever seen a truly great production of this opera?”
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.