Cher Public

  • Sanford: Speaking of Sabine Devieilhe, I’m listening to Sonnambula with her and Osborn (I haven’t gotten to him, having just... 11:35 AM
  • Ilka Saro: No right or wrong here but I have a different experience of the piece. I didn’t need to know precisely about the TB to... 11:22 AM
  • Greg.Freed: Ah, mine was in Houston: Fleming, an oddly cast Upshaw, and the divine Mentzer. I wish the OperaShare death cult hadn’t... 10:45 AM
  • Milady DeWinter: Well I think will summed it up, olliedawg. Hit the Fenimore Cooper Museum, go to the pre-curtain lectures, and... 10:23 AM
  • The Poet Lenski: The 2013 Off-Broadway production was kind of a mess. I didn’t like John Doyle’s concept of having the two... 10:15 AM
  • Krunoslav: This prompted me to look at my data base: I too saw Halfvarson early on, as Ochs in a Lott/von Stade/Schaefer ( US debut!),... 8:50 AM
  • Will: I prefer the rear orchestra, nicely raised above the crowd and relatively easy to get out of the theater at the end or during... 8:02 AM
  • gustave of montreal: Beautiful, thanks for posting this. 6:15 AM

From a distance

klang_1Asking New Yorkers to travel two hours to the remote but beautiful campus of Bard College in New York’s Hudson River Valley to see an opera can be like asking them to cross the Sahara. Yet if there is any opera I would put my life at risk to see again, it just might be the production of Der Ferne Klang by Franz Schreker that premiered last night as part of Bard’s 21st annual SummerScape. This potentially once-in-a-lifetime production showcased the vast genius of Schreker, as well as the growing skill of director Thaddeus Strassberger, making for a night of complex yet visceral beauty. Read more »

Dark humor grows in Brooklyn

ironic_mustacheAfter Friday night, it seems clear that the Brooklyn hipster is destined to be the next audience for opera.  Galapagos Art Space was home to another co-production by American Opera Projects and Opera on Tap, this their fifth collaboration, and once again some amazing surprises were presented by this rag-tag bunch of very experimental artists.  But aside from the range in quality, timbre and medium presented by the evening, what struck me last night was the audience.   Read more »

Truth is stranger

cimarronThe wealthy suburban community of Greenwich, CT is a place where diamonds are in no short supply.  Yet there are still some diamonds of artistic excellence hidden in this seaside town, including the shockingly well-done production of Hans Werner Henze’s The Runaway Slave (El Cimarrón) by the Greenwich Music Festival.  This most likely will be the only time I will ever see this rarely performed gem live, but after experiencing the awesome power of the work last night, I am happy that I’ve seen this amazing piece realized to its greatest potential. Read more »

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Opera with a whiskey back

On Friday, April 16th, American Opera Projects and Opera on Tap presented a triple bill of new works at Galapagos Art Space in DUMBO, including what is essentially a pastiche, a collection of songs, and a one act opera. There were highs, there were lows; there was booze and opera in the same room. I cannot say I witnessed history that night, but I had a good time, and isn’t that really what it’s all about? 

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Dueling lyres

Christoph Willibald Gluck’s Orphée et Eurydice marked an epic first, a turning point in the history of opera.  In this, the first of the composer’s “reform” operas, his intention was to take the opera seria style popular at the time and to boil it down to its purest dramatic elements, creating an opera of “noble simplicity.”

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Regie done right

The joy on my face after opening the plain manila envelope that contained the ArtHaus Musik DVD of Walter Felsenstein‘s 1975-6 Die Hochzeit des Figaro is hard to describe.  I wanted to love this DVD with all my heart, as I have with the three other Nozze DVDs I own. I did, and then some. Now, even before you put the first of the two discs into your DVD player, you could start finding problems:  “I don’t know any of these singers!”  “Singing Mozart in translation?”  “The sets look flimsy!” “Lipsynching?” To which I answer, “Who cares?”  This production shows, […]

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