Cher Public

Joel Rozen

Joel Rozen is a culture critic, anthropologist, and audiophile living in New York. His doctoral thesis at Princeton—still underway—is based on some field research he did in North Africa a few years ago; since then he’s enjoyed teaching in the city and writing about music. His love of opera can probably be traced back to high school, when he used to poach from his girlfriend’s dad’s CD collection. The orientation has changed and so has the digital format. What hasn’t is the Domingo/Studer Otello, which remains awesome, and unreturned.



Miracle on 28th street

Immersive theater can be vexing—take it from a critic who’s slogged through productions set on sinking long-tail boats and in allergenic warehouses—but this year’s been a grand one for location-specific opera. Read more »

Sound bite

Opera, it’s been said many times, is a generous genre, one that stretches to accommodate myriad techniques and traditions beyond the confines of Western music. But last weekend at Lincoln Center’s Rose Theater, audiences were given the chance to test that theory with a brilliant production that prodded the medium’s limits with a samurai sword.  Read more »

The devil’s eye candy

There are shows with iconic characters, and there are shows with iconic characters playing iconic characters.  Read more »

Fleur du mal

Too bad, then, that this season’s tossed flower was a bit of a wilted one.

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Center ring Gandhi

BAM brings us a political opera featuring… literal balancing acts.

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The beautiful doom is empty

The Met is on it with something something woker than woke: a noirish psychodrama of a frigid hysteric who seeks redemption via Freudian analysis!

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Automaton poem

With only a few weeks left to slice up our pumpkins and track down the perfect Luigi for our Mario, the timing seems right for a pair of Gothic operas set in a crypt. 

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Magnificent seven

Even for a medium that often trades in high-impact visuals, The Mile-Long Opera is dazzling to look at.

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