Callum John Blackmore
Callum Blackmore is a writer and a researcher currently completing a PhD in historical musicology at Columbia University. Before moving to New York, Callum was awarded degrees from the University of Auckland and the University of Leeds, and has worked with opera companies in New Zealand and the United Kingdom. His research currently focuses on opera and politics in the wake of the French Revolution.
Hannah Lash’s latest opera, which premiered at the Miller Theater on Wednesday night, was a musical and dramatic misfire.
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As the Netrebko-crowned Macbeth took to the stage at the Met, just a few blocks away, Teatro Grattacielo presented its 25th Anniversary Gala Concert.
At the Met’s performance of Manon Tuesday evening, Michael Fabiano made as good a case as any for renaming the opera Chevalier des Grieux.
Benjamin Yarmolinsky’s The Constitution: A Secular Oratorio, performed by Vertical Player Repertory on Thursday evening, was an awful lot of legal speak for one evening.
One of the main problems with My Undying Love was that it did not appear to know what audience it was pitching to.
David Lang’s Prisoner of the State, which was premiered on Thursday night by the New York Philharmonic, places the issue of mass incarceration front and center, foregrounding the violence of the prison system, both physical and psychological.
Daniel Thomas Davis’ The Impossible She, was a towering musical achievement, a hugely complex work packing a whopping political and intellectual punch.
Iestyn Davies is, of course, a renowned Handellian, and he sang Handel’s music with clarity, restraint, and precision.
At the Metropolitan Opera’s Götterdämmerung on Saturday afternoon, the fires which consumed the Gods burned lukewarm.
Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial
The finals on Sunday seemed a bit like the modern-day operatic equivalent of the Roman colosseum.
At the Metropolitan Opera on Saturday night, Mozart’s opera never sounded fresher, a superstar cast shining new light on one of the composer’s all-too-seldom-performed scores.
Austin McCormack‘s lascivious choreography outshone a tepid and tedious staging of Saint-Saëns’s old-testament epic.
Hearing Lucas Meachem perform Kindertotenlieder in the crypt of Harlem’s Church of the Intercession was a heart-warming, and ultimately uplifting experience.
Barbara Hannigan‘s electrifying performance with the Juilliard Orchestra on Friday night proves that she is as much a force to be reckoned with on the podium as she is onstage.
While 4.48 Psychosis is an intricately-crafted, deeply moving portrait of human agony, Pancho Villa from a Safe Distance lacks the creative clout to realize its artistic ambitions.
