Dan Johnson
Dan Johnson was born in the desert and learned to play the fiddle. Now he lives in Brooklyn, working as a freelance writer and music communications specialist and helping to throw some of the city's most notorious underground parties.
An impressive cast blurs binaries as John Adams‘s ambitious Antony and Cleopatra arrives at the Met
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Following the successful launch of the new regular feature The Talk of the Town in January, the team at the box is inviting contributions for a new quarter of operatic potpourri.
An uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
The Met Orchestra Chamber Ensemble’s Das Lied von der Erde skirts the sublime at Carnegie Hall
The Jupiter Ensemble with Lea Desandre and Anthony Roth Costanzo offers sleek and sexy HIP inaugurates the Frick Collection’s new Stephen A. Schwartzman Auditorium
Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
Christopher Cerrone and Stephanie Fleischmann‘s opera at the Prototype Festival re-sets Rashomon in the Pacific Northwest and binds its characters into a hellish cycle of violence with a dark, hypnotic score
Eat the Document, which premiered at the Prototype Festival last week, compresses a decades-long, nonlinear story into a swift 90 minutes while still finding time to pause for reflection.
Here’s the bottom line: at Carnegie Hall’s Zankel Hall stage on December 3, Iestyn Davies and viol consort Fretwork made the sweetest sounds I’ve heard from human beings all year.
War! Heroism! Mysterious strangers! Attempted suicide! Steadfast love! Così fan tutte, as staged November 18-21 at Juilliard Opera, had… none of these things.
The music was at every point dramatically compelling, without seeming cheap or manipulative.
The aesthetic vision of M. Lamar’s Funeral Doom Spiritual was undeniable.
anatomy theater, receiving its New York premiere Saturday night at this year’s Prototype Festival, is a conceptual exercise in which nothing, absolutely nothing is left to the imagination.
Breaking the Waves is not only a “real opera,” it is an immensely powerful work of music drama.
Is there anything more essentially operatic than the suffering of women?
I was led through a small labyrinth of white curtains, sheer like veils, to a row of seven chairs jutting in between the stage risers.
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