Cher Public

Guilt, edged

If aging French modernist composer Darius Milhaud took a risk in adapting La Mère Coupable as an opera, it wasn’t the quirky, atonal style he used for his score.  Read more »

For a few dolors more

Brooklyn’s edgy, innovative LoftOpera began in 2013 with two of the three Mozart-da Ponte operas. Since then other than an excursion into (relative) modernity with Britten’s The Rape of Lucretia and rounding off the trio with Così fan Tutte, the company has settled into 19th century repertoire. However for its summer 2017 show LoftOpera has ventured into the early 18th century with the accurately but unpromisingly named Pergolesi & Vivaldi, a potentially compelling project that stumbled rather than soared.  Read more »

The word is not enough

So, um, I guess we can agree that words are more important than music?  Read more »

Triple header

I reckon marketing a sex-themed opera in Brooklyn should be like selling bacon-flavored froyo in Vermont.

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Monday in the park with mike

From up close, the miked opera singer can be a bit tough to take.

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And three for Mahler

A poster outside Carnegie Hall proclaimed “Mahler Well Met” and to some degree it proved to be true.

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Arrivederci, Romany!

In the same season that Manhattan School of Music revived The Gypsy Baron, Riverside Theater around the corner is the site of Amore Opera’s “Season of Gypsy Operas.”

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Das Süsses Mädel and the Boy from Berlin

Diana Damrau has chosen for her new Erato recital disc Grand Opera 11 high-flying showpieces from ten operas by Giacomo Meyerbeer.

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Fixing the fan

Cio-Cio and Carmen: what do you do with two tragic heroines who typify not just the sexist clichés, but also the soupy exotic fixations, of the Old-World West?

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Serenade

The Broad Stage presented Joseph Calleja in their Celebrity Opera Series May 10 with a concert called A Tribute to Mario Lanza.

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