The dramatic action of La Sonnambula is delicate as a holiday ornament of filigree glass, and its semiseria naiveté may puzzle a modern public. Staging it is an awkward matter at best, as the recent Met production demonstrated: How can you update a tale of Swiss rustics who refuse to believe in sleepwalkers but insist passionately on the reality of ghosts, virgin brides and honorable noblemen? Read more »
If only—if only half the creativity and spectacle that Encompass New Opera Theatre has lavished on its lively production of The Astronaut’s Tale (at the BAM Fisher through Sunday) had been expended on the pretentious libretto by the late Jack Larsonand the quirky, unappealing score by Charles Fussell… Read more »
The name Joseph Rumshinsky might ring a bell (or a shofar). Ira Gershwin slipped him into “Tchaikowsky,” his patter song of Russian composers in Kurt Weill’s Lady in the Dark. In fact, Rumshinsky had been American for over thirty years by that time. He conducted orchestras for a dozen Yiddish theaters in the vicinity of Tompkins Square, and had composed a few operettas. Read more »
LoftOpera gives performances of exceptional musical and theatrical polish in offbeat corners of Brooklyn.
Bare Opera, the feisty little company that gave Debussy’s exquisite L’Enfant Prodigue in Chelsea last spring, is now operating in chic, rundown Bushwick where so many original enterprises sprout.
In New York, tradition insists, there are no limits to where a preposterous idea, talent and relentless determination will take you, in defiance of all the odds.
New York is different now, and John Zorn has this hangout, The Stone, on Avenue C (you heard me) at Second Street, a performance space the size of a largeish dorm room.
“Operatic” generally refers to sung drama, but there is another meaning of that term: grandiose, outsize, hysterical.