Mi pare sentire odor di femmina
Parterre Box offers an (almost) comprehensive introduction to the sopranos headlining Mozart productions in New York, Chicago, and San Francisco this fall.
Parterre Box offers an (almost) comprehensive introduction to the sopranos headlining Mozart productions in New York, Chicago, and San Francisco this fall.
In eclectic productions of Carmen, Ariadne auf Naxos, and Così fan tutte in Salzburg, A.J. Goldmann finds vindication for Markus Hinterhaüser at the end of the intendant’s final Festival.
Keri-Lynn Wilson and the Ukrainian Freedom Orchestra channeled a want for justice into fine music-making in two appearances at David Geffen Hall.
This season marks the third annual visit of The English Concert to American shores, this time with a production of Handel’s Alessandro.
George Saunders’s unforgettable novel about the greatest sorrow known to humankind—surviving the loss of a child and letting go—work as sung theater by Missy Mazzoli.
Evgeny Titov, locally infamous for his production of Salome where the titular heroine wears a paper mask for the entire performance, returns with Szymanowski’s shimmering King Roger.
A new English translation of Puccini’s La fanciulla del West gallops into a high school in Pacifica with as much grit and gumption as its titular frontierswoman.
There are several HDs that look interesting, but what I most looking forward to is the Manon with Nadine Sierra.
In between performances of Strauss and Mozart, Parterre Box highlights the smolderingly elegant Samantha Hankey.
I’m looking forward to the Met’s new production of Puccini’s La fanciulla del West.
It is only a concert performance, but no one seems to have told them that; and thank the heavens for that!
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town!
John Yohalem reviews pianist Steven Blier‘s warm, witty, and worldly autobiography, From Ear to Ear.
An amateurish production of Le siège de Corinthe, combined with heavy-handed conducting, at Pesaro weakens the defenses of one of Rossini‘s most topical operas.
Pure dementia. Magda Olivero in the finale to Fedora.
Christopher Corwin remembers the late soprano Ileana Cotrubas — and shares some archival recordings of her in Bellini, Tchaikovsky, Leoncavallo, and Gounod.
Parterre Box invites you to cool off with a dip in the lake alongside Sonya Yoncheva and Pavel Černoch in Rusalka.
What is more demented than a thrilling performance of Strauss’s Elektra?
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