To commemorate the 50th anniversary of its Mostly Mozart Festival, Lincoln Center commissioned British theater artist Netia Jones to create The Illuminated Heart, a willy-nilly, thoroughly conventional piece that careened through the composer’s best-known operatic hits. Briskly conducted by festival music director Louis Langrée and nicely performed by some of today’s finest singers, the unevenly-beating Heart unfortunately proved less than the sum of its deluxe parts. Read more »
Every summer since 2003 Bard SummerScape has mounted one or more rarely done operas in the stunning Frank Gehry-designed Fisher Center, and this year as part of its “Puccini and His World” festival audiences may witness the resurrection of Mascagni’s distinctly odd Iris, conducted as always by Bard president Leon Botstein. Read more »
While composed within a European style, La Fanciulla del West is an opera that manages to present a distinctly American experience. And, as demonstrated in a recent, disappointing production by Apotheosis Opera, Puccini’s characters thrive within the open range of the American frontier, exploring the emotional dynamics located between arrival and departure, and the unexpected transformations one finds therein. Read more »
Call me old fashioned, but when I go to the opera, I go to hear beautiful singing.
Sometimes when you find the club that will have you as a member, you do not easily give up your spot.
The opera Patience and Sarah is a fantastic example of radical creativity.
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
Richard Wagner viewed dance as an essential element of art, though he used it sparingly in his operas.