La Cieca’s nomination for Song of the Year 2016: an elaborate but hideously tasteless unintentional joke. Read more »
Blood-and-guts singing is the reason to see Nabucco at the Metropolitan Opera this season. Featuring a vocally adventurous cast, and the keen conducting of James Levine, the company redeems a seemingly cheap and outdated production by Elijah Moshinsky, with passionate music making and searing theatricality. Read more »
Don’t miss the Encores! production of The Golden Apple, a whimsical and wildly ambitious show that introduced the classic torch song “Lazy Afternoon” and was hailed as a theatrical milestone in 1954. Inspired by the myths of The Iliad and The Odyssey, Jerome Moross and John Latouche’s musical conjures up the bygone days when pie-baking contests were cutthroat and lovers eloped in hot air balloons. Encores! is delighted to present The Golden Apple to a new generation. May 10-14 only! Read more »
Of all films to be adapted into operas, 1967’s Berserk! seems a most unlikely choice, particularly with Juan Diego Flórez in the role of tough-as-nails ringmistress Monica Rivers. Read more »
I think we can all agree that this Anna Pirozzi is the real thing!
“In naïve, or pure, Camp, the essential element is seriousness, a seriousness that fails.”
The Deutsche Opera an Rhein production of Handel’s Xerxes (which is shared with the Berlin Komische Oper), though I saw it three nights ago, has taken a while to settle down in my brain.
My first experience with John Corigliano’s music was in high school with the ear and mind blowing score he wrote for Ken Russell’s film Altered States.
Christopher Alden‘s production of Handel’s Partenope is so erudite and theatrically audacious and also such a rollicking ride, it’s hard to believe it isn’t crap.