Polish singers are chameleons. They have to be. There aren’t enough Polish operas to make a major career, even in Poland, a sizable nation, and if they go abroad, Krol Rogers and Halkas and Straszny Dvors are few and far between. And when did anyone last revive Penderecki’s Devils? Read more »
Absent from Chicago Lyric Opera’s repertory for 21 years, Alban Berg’s Wozzeck came roaring into town on Sunday afternoon in a stunning new production by Sir David McVicar, featuring a uniformly excellent cast of singing actors. Performed without intermission, the production maintained a remarkable pace and kept the tension level high for one hundred minutes, after which the audience burst into an ovation of pent-up emotion. Read more »
“CanCon”, or Canadian Content, is always a concern in Canadian cultural discourse. A nation with founding cultural influences from Great Britain and France and continual cultural influence from its prominent neighbour to the south, Canada is always questioning its own cultural identity. This can lead to hypersensitivity when it comes to Canadian content in all areas of arts and culture. Read more »
After nearly three years and over 20 performances Michael Mayer’s “Las Vegas” production of Rigoletto at the Metropolitan Opera still outrages many.
New York is different now, and John Zorn has this hangout, The Stone, on Avenue C (you heard me) at Second Street, a performance space the size of a largeish dorm room.
What is surreal, symbolic, and generally mysterious in the dramatic arts can get a bad rap.
This “new-to-Chicago” production is a sheer pleasure from beginning to end.
“Operatic” generally refers to sung drama, but there is another meaning of that term: grandiose, outsize, hysterical.
Although the season is less than three weeks old, Metropolitan Opera audiences may hear nothing else this season as beautiful as Peter Mattei’s “Song to the Evening Star.”