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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 woman in a white gown holds up a rough sketch of a face during a tense scene on stage while a man sits beside her and a chorus watches from the background.

The Met’s ‘I Puritani’ and the Tension Between Historical Realism and Operatic Fantasy

By Gabrielle Ferrari
A man in a blue military uniform stands triumphantly with arms outstretched over a group of soldiers lying on the stage floor.

With Precision and Playfulness, ‘La Fille du Regiment’ Considers Love, Loyalty and the Absurdities of War

By Gabrielle Ferrari
An expansive concert hall filled with audience members shows dozens of pianists and instrumentalists arranged in a large circular setup around the stage.

In ‘11,000 Strings,’ Georg Friedrich Haas Builds a Vast Sonic Landscape

By Gabrielle Ferrari
An actor wearing an open shirt and mask raises one arm dramatically on stage in front of a crowd of men in mid-20th-century clothing, with balloons and stage equipment visible behind him.

Is ‘The Amazing Adventures of Kavalier and Clay’ the Opera We Need or Just the One We Deserve?

By Gabrielle Ferrari
Three actors perform in front of a large golden throne with wings—one wears a white clerical robe and looks worried, another wears a gold tunic with a cross and looks shocked, and the third wears an ornate red robe with a painted-on mustache, standing solemnly with hands raised.

Anthony Roth Costanzo Brings Charles Ludlam’s 1983 Drag Fantasia to Little Island

By Gabrielle Ferrari
A woman in a white dress is standing on stage, singing with her hands raised, while an orchestra performs in the background.

At SummerScape, a Timely ‘Julietta’ Satirizes the Nostalgic Obsessions of Fascism

By Gabrielle Ferrari
A female singer wearing a dark gown raises both hands expressively during a solo performance onstage, with a dim operatic backdrop behind her.

In 2025, Teatro Nuovo’s Undersung Scores Get the Vocal Firepower They Deserve

By 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
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