In military jargon “collateral damage” describes incidental death, maiming, or damage inflicted on an unintended target during a legitimate military attack. But last evening’s scorching performance of Fallujah by the New York City Opera demonstrated that sometimes the impact is not limited by physical proximity. Read more »
“New York City Opera is thrilled to announce the cast for its January 2017 production of Leonard Bernstein’s Candide. . . . The production will also mark a notable New York City Opera debut with the role of the Old Lady played by Linda Lavin, the television, stage and cabaret star and Tony Award®-winning actress best known for playing the title role in the television series Alice” promises a press elease from NYCO. Read more »
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
“Just as every downtown shopping street in every major American city now features the same familiar retailers’ names, New York City Opera has no particular artistic identity different from, say, Opera Carolina.” [Observer]
Daniel Catán’s Florencia en el Amazonas at NYCO charts the emotional trajectory of seven characters aboard a ship called the El Dorado.
The Péter Eötvös adaptation of Angels in America—as well as Candide and such rarities as La campana sommersa and Los Elementos—are highlights of the New York City Opera’s 2016-2017 season.
New York City Opera will complete its season with “three major premieres.”
“The reorganized company’s first several seasons would present productions ‘already judged an artistic success and box-office favorite’ elsewhere, such as Bizet’s Carmen and Streetcar Named Desire.”
The New York City Opera saga apparently wasn’t quite dramatic enough, so now there’s a new plot twist thrown into the mix.
Thanks to La Cieca’s extensive network of spies, she is able to present for your perusal, cher public, the proposal for the revival of the New York City Opera presented by the higher bidder for the company.
“The board of the bankrupt New York City Opera says it wants to sell its name and other assets to the bidder whose offer is lower than the competing bid.”