John Yohalem’s critical writings have appeared in the New York Times Book Review, American Theater, Opera News, the Seattle Weekly, Christopher Street, Opera Today, Musical America and Enchanté: The Journal for the Urbane Pagan, among other publications. He claims to have attended 628 different operatic works (not to mention forty operettas), but others who were present are not sure they spotted him. What fascinates him, besides the links between operatic event and contemporary history, is how the operatic machine works: How voice and music and the ritual experience of theater interact to produce something beyond itself. He is writing a book on Shamanic Opera-Going.
Be wary of operas that are famous for just one aria or just one famous opinion. Those of us who have attended Rusalka or Romeo et Juliette or Adriana Lecouvreur or Der Widerspenstigen Zähmung have been well-warned and had their fingers slightly burnt. But sometimes, in the proper circumstances, such works have their charms. Read more »
Made cautious by the endless coloratura laments of the woman in red, groveling in a stage-wide sandbox and packing up her gilded rawhide fleece (soprano Claudia Barainsky, in a role created by Marlis Peterson), I was puzzled by my initial exposure to the Medea of Aribert Reimann, a work of 2010. Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
At the premiere, in 1835, Fromenthal Halévy’s La Juive triumphed, in part, due to its spectacular staging –critics jested that the military processions could shatter the balance of power in Europe–and in part for the frisson of the opera’s horrific conclusion, Rachel and Eléazar tossed into boiling oil by a Christian mob singing merrily of its “vengeance” on the Jews. Read more »
La Campana Sommersa (The Sunken Bell), which is being presented by the New York City Opera at the Rose Theater through April 7, is a true oddball.
Leos Janacek composed Adventures of Vixen Sharp-Ears, with its singing forest creatures of many species, in 1922-23.
The New Amsterdam Opera Company presented a concert Forza (orchestra and chorus, yes; sets and costumes, no) at $35 a ticket.
Since Gilbert and Sullivan remain constant in the light-opera repertory, somewhere between Fledermaus and Les Mis in popular esteem, there must be good reasons their final collaboration, The Grand Duke, is seldom revived.
Pretty Yende was still hanging around after her last Barbiere and she knows the role of Elvira, having sung it in Zurich last June.
An unstaged performance of Juditha Triumphans by five soloists and the Venice Baroque Orchestra under Andrea Marcon.