New York City Opera Renaissance’s Tosca “was opera at its most retrograde, an effort to recreate a golden age from a handful of tinsel.” [New York Observer]
Fellow parterrians, my review in the Observer of this year’s PROTOTYPE festival does not appear until Wednesday, by which time their presentation of the absolutely remarkable contemporary opera Dog Days will have closed. There are still tickets available for Monday’s closing night at the Skirball Center at NYU, and if you can at all be there, you must be there. As you will read next Wednesday, “After more than two hours of emotional pummeling from this magnificent opera, I felt like I’d been through an apocalypse myself.” Read more »
Our Own JJ confesses he just doted on Heartbreak Express, but “You Us We All was not my cup of twee.”
“Everyone complains about how there is no great singing in opera anymore, but last week’s performances suggest that’s not so. The singing today is mostly fine; it’s everything else that’s the problem.”
“This throwback to the golden age of opera—superhuman singing greeted with frenzied ovations—was a function of a perfect storm of excitement.”
Part of what makes opera seem, at least, a camp art form is that fans of the genre have such inconsistent taste.