“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]
In Mark Twain’s Tom Sawyer Abroad, Huck Finn famously states: “there ain’t no surer way to find out whether you like people or hate them than to travel with them.” Huck, a character who knows a thing or two about traveling down rivers, could be summing up the experience of watching the New York premiere of Daniel Catán’s Florencia en el Amazonas at NYCO, an opera that charts the emotional trajectory of seven characters aboard a ship called the El Dorado. Read more »
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. (Photograph by Ellen Appel for Fort Worth Opera,)
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.”
Our own Jungfer Marianne Leitmetzerin delves back into those days when there was another opera company in New York, and (what’s more) the opera done there was worth hearing.
At Camille‘s request, here’s some all-American Bellini from our dear Jungfer Marianne Leitmetzerin: a live performance of I puritani from New York City Opera featuring Beverly Sills.