In just two years, Brooklyn’s LoftOpera has rapidly established itself as a bracing, essential addition to New York City’s musical life. While some can’t imagine opera existing outside Lincoln Center and, perhaps, the Brooklyn Academy of Music, many others hunger for alternatives and hundreds of them converged Friday evening at The Muse, a cavernous circus school, to savor Loft’s latest endeavor, a provocative staging of Berlioz’s Les Nuits d’été and Mahler’s Lieder eines fahrenden Gesellen. Read more »
Few new operas have received the near-unanimous acclaim that has greeted Written on Skin since its first performance at the 2012 Aix-en-Provence Festival. The subject line of the email I received from Lincoln Center promoting its US stage premiere went so far as to proclaim it “the opera you’ve been waiting for!” The excitedly expectant audience that filled the former New York State Theater Tuesday evening hailed it with a loud and prolonged ovation, but the intensely complex 90-minute work proved easier to admire than to love. Read more »
When LaCieca asked me to choose my favorite live recording, I had to think… and think. After so many years of loving to listen to them, I found it nearly impossible to choose. Read more »
The CD explosion coincided with an enormous increase in interest in HIP (historically informed performance) so now there were lots of commercial recordings of the sort of operas I had turned to pirates to find.
Many live treasures (and some duds) began to take up more and more space—first in my dorm room, then in my first little studio apartment thanks to a group of quite special men, none of whom I ever met face to face.
It never occurred to me that each tape had to be individually dubbed or that others, maybe many, many others, might also be ordering tapes at the same time.
Back when I was a good boy, I told my parents that my goal in getting my first job was to earn money for college; however, my real motive was to make my secret wish come true—to be able to consort with “pirates.”
Saturday evening conductor Will Crutchfield revived Donizetti’s La Favorite—unheard in New York for fifteen years.
Poor Paisiello. Out of the nearly 100 operas written by this industrious composer just one was generally regarded as a masterpiece.
Director R.B. Schlather and his team explored Handel’s Orlando and the results, as seen at Monday night’s final presentation, proved uncommonly stimulating.