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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.

  • @gabrielle.ferrari
A man in a military-style outfit kneels on stage yelling in anguish while two women sit on the floor behind him, one clutching the other protectively in a dramatic theatrical scene.

Heartbeat Opera’s ‘Faust’ Finds the Humanity (and Humor) in the Hellish

By Gabrielle Ferrari
A group of women in formal blue gowns surrounds a central figure in a silver costume and feathered cape, placing a gold headdress on her during a stage performance.

The Met’s ‘Antony and Cleopatra’ Reframes Ancient Tragedy Through the Lens of Propaganda

By Gabrielle Ferrari
An adult woman in a black dress with lace collar is surrounded onstage by six young girls dressed identically to her, all with similar blonde hair and serious expressions, evoking different ages of the same character.

Claus Guth’s ‘Salome’ at the Met Says the Quiet Part Loud

By Gabrielle Ferrari
A man in a black tank top stands on a platform with his arms raised dramatically under a spotlight, while a live band with a pianist, saxophonist and drummer plays in the darkened orchestra pit below.

The Threepenny Opera: Extremely Wicked, Shockingly Evil and Weill

By Gabrielle Ferrari
A male performer in a black mesh top strides across a dimly lit stage while musicians in an orchestra pit below him play various instruments under a row of overhead lights.

A Powerful Turn of the Screw at Juilliard Is Equal Parts Atmospheric and Urgent

By Gabrielle Ferrari
A photograph of a female opera singer in a soft pink and gold gown with a red veil shows her singing with arms outstretched in front of an orchestra, as a conductor in black leads the ensemble of violinists, cellists, and other musicians, some of whom wear glasses or masks.

Edmond Dédé’s ‘Morgiane’ Is as Musically Rich as It Is Historically Significant

By Gabrielle Ferrari
A theatrical scene with four actors in dramatic poses, including a man in a torn blue shirt shouting, a woman cradling another person in distress, and a man in the background with hands clasped in a prayer-like gesture, all in dim lighting.

Heartbeat Opera’s ‘Salome’ Dares Us to Look

By Gabrielle Ferrari
Two performers, covered in white clay, sit closely together on a wooden bench in a dimly lit stage setting with scattered props, while musicians play string instruments in the background.

Michael Hersch and Shane McCrae On Co-Creating ‘and we, each’

By Gabrielle Ferrari
A group of four actors in 18th-century period costumes sit in a parlor-like setting with an ornate purple backdrop, where one man in a burgundy coat gestures expressively while the others, including a woman in a yellow dress, a man in gold, and a woman in red, react with amusement and curiosity.

Joseph Bologne’s ‘The Anonymous Lover’ Is Surprisingly Unfunny in Philadelphia

By Gabrielle Ferrari
An atmospheric performance scene inside The Cloisters shows dancers in flowing white and blue costumes illuminated by warm, golden light, with a poetic passage projected onto the stone wall above them.

Rich and Meditative, ‘Primero Sueño’ at the Cloisters Brings Sor Juana to Life

By Gabrielle Ferrari
Two men in formal attire—one the pianist and the other the tenor—stand hand-in-hand on stage at Carnegie Hall, smiling and bowing to the audience in front of a grand piano.

Asmik Grigorian’s Raw Passion Eclipsed Piotr Beczała’s Quiet Thunder at Carnegie Hall

By Gabrielle Ferrari
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