A Madhouse Is Not A Home — DF Reviews 10 Days in Madhouse at Festival O23
In 90 minutes, Rene Orth’s riveting work gives us everything we could want in a new opera.
Let’s Get Serious — CK Reviews Renee Fleming and Evgeny Kissin at Carnegie Hall (for Parterre Box)
The soprano arrived at Carnegie Hall on May 31 with something to prove.
Die Frist Ist Glum — CK Reviews Der Fliegende Hollander at the Met (for Parterre Box)
Francois Girard’s Holländer sits on the Met’s cavernous stage as a dull gray mass.
Artists With Enough “Oomph”?: DF Reviews the Met Laffont Competition Grand Finals (for Parterre Box)
At all of these vocal contests, I ask myself the same question: What are the judges looking for?
So a Fool Returns to His Philly — Don Pasquale at AVA (for Parterre Box)
Don Pasquale is Jawn Pasquale in this delightful production at the Academy of Vocal Arts.
The Sense of Dramatic Thrust: DF Reviews La Traviata at Academy of Vocal Arts
Soprano Lydia Grindatto confirmed her promise with a charismatic, thoroughly inhabited Violetta.
Love, Loss, & What She Wore: CK Reviews Sondra Radvanovsky in Recital at Carnegie Hall
Sondra Radvanovsky eschewed the customary recital format, putting her selections in a highly personal context.
They Are The Champions: DF Covers AVA’s Giargiari Competition 2022
This is likely the best Giargiari Bel Canto competition year in my experience, evidenced in several important ways.
REVIEW: A Divided Duty: Rossini’s Otello at O22 (for Parterre Box)
In bel canto opera, virtuosic singing IS the drama. Accept that, and O22’s OTELLO pays off thrillingly.
REVIEW: As The Raven Flies — Festival O22 Begins (for Parterre Box)
In THE RAVEN, Festival O’s characteristic imagination and audacity remain front and center.
reclining standards 