It’s easy to see why Leonard Bernstein’s Candide was a flop when it premiered on Broadway. A quick look through Voltaire’s source material reveals a plot full of obscenity and atrocity: floggings, hangings, disembowelment, rape, dismemberment, impalement, bestiality, cannibalism, heresy, and sex trafficking. Such a catalogue of depravity suggests an adaptation of Pasolini rather than a Broadway musical. Read more »
Aside from being the choice of the revived New York City Opera for its opening double-bill this season, you may wonder what Rachmaninoff’s Aleko and Leoncavallo’s Pagliacci have in common. 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 »
“Hopper’s Wife, a chamber opera with music by Stewart Wallace set to an obscenity-strewn text by Michael Korie, turned out to be the most unpleasant piece as I’ve heard since NYCO’s notorious fiasco The Dreyfus Affair, two decades ago.” (Dido and Aeneas, on the other hand, was mighty fine!) [Observer]
New York City Opera Renaissance certainly seems to have its eyes on the future.
The New York City Opera Board has signed an agreement to transfer its name and intellectual property to NYCO Renaissance, Ltd.
One startling upset catches the eye among the many winners (if that is the word) of the 2013 Parterre Box Awards.