The aesthetic vision of M. Lamar’s Funeral Doom Spiritual was undeniable. Read more »
David Lang’s recent vocal music has been an exercise in extreme austerity. the loser, premiered last year at BAM, saw Rod Gilfry standing nearly motionless on a platform high above an almost entirely empty opera house—empty on purpose, not as a result of the poor ticket sales of contemporary opera—narrating a story in concert black, the score using oblique musical gestures to tell a story with a meaning so cloaked in deadpan ironies as to be totally ambiguous. Read more »
Years ago, then-Times critic Steve Smith made an impulsive prediction on twitter: “I’ve spotted Missy Mazzoli at the Met for From the House of the Dead. One day I’ll be here to hear her. Bank on it.” Read more »
Is there anything more essentially operatic than the suffering of women?
I was led through a small labyrinth of white curtains, sheer like veils, to a row of seven chairs jutting in between the stage risers.
Wednesday afternoon, Pocket Orchestra New York’s new PONYmobile presented a guerrilla performance of sorts in a most unlikely space, the XES Lounge in Manhattan, where designer Joel Yapching‘s BOOK homme debuted its Spring/Summer 2012 collection to the strains of Monteverdi’s Il Ritorno d’Ulisse in patria.
Since it’s put on in lavish productions at the biggest houses, sung by the biggest stars, since it wrings such a rich sound out of such a small band, and since the musical, formal and literary ambitions of Richard Strauss and Hugo von Hofmannsthal’s great meta-opera are so very grand, it might be easy to forget that Ariadne auf Naxos is actually a chamber opera that just happens to demand a singer or two with bulletproof pipes.
I had every reason to think I’d love the New York Phil’s production of The Cunning Little Vixen as much as I did their staging of Le Grand Macabre with the same creative team.