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Gabrielle Ferrari

Gabrielle Ferrari is an NYC-based scholar, singer, and opera critic currently pursuing her Ph.D. in Historical Musicology at Columbia University, where she has also served as the director of Columbia's New Opera Workshop. Her work explores constructions of gender, death, and the voice in twentieth-century music and media. She holds degrees in musicology, vocal performance and English literature. She can often be found writing at Parterre Box and at her website www.gabrielleferrari.com.

A standing man dressed as a king performs on a stage with other performers dressed as nobles behind him

“Wake up, Wolfram!”: Extinction Rebellion Takes on Tannhäuser at the Met

By Gabrielle Ferrari
A women in old fashioned dress leans over a boat railing near a woman in a strapless dress and large feathered hat

The Met Opera’s ‘Florencia en el Amazonas’ Is Magic Made Real

By Gabrielle Ferrari

Musicality Shines in ‘Un Ballo in Maschera’ at the Met

By Gabrielle Ferrari

Kate Soper’s Provocative ‘The Hunt’ Tells a Modern Tale Through a Medieval Lens

By Gabrielle Ferrari

Intelligent and Moving, ’10 Days in a Madhouse’ Exemplifies the Power of Opera

By Gabrielle Ferrari
A man in jeans and a tank top sits on stage and sings angrily

Ivo van Hove’s ‘Dead Man Walking’ Stages a Strong Story in a Featureless World

By Gabrielle Ferrari

The Met’s ‘Die Zauberflöte’ Melds Music and Movie Magic

By Gabrielle Ferrari
A boxing scene, lit in red, frames a triumphant fighter and an unconscious foe

Blanchard’s Champion at the Met Pulls Its Emotional Punches

By Gabrielle Ferrari
Four laughing women in 1950s style dress stand on stage

Review: The Met’s Falstaff Revival Is Fantastically Funny

By Gabrielle Ferrari
A distraught woman kneels before a singing woman in an operatic performance.

Review: Music Carries the Drama in McVicar’s Norma

By Gabrielle Ferrari

Review: ‘Carmélites’ Is a Nuanced Meditation on Fear and Devotion

By Gabrielle Ferrari
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