John Yohalem
On Tuesday night, in the commodious concert hall of the Morgan Library, the Boston Early Music Festival forces brought Georg Philipp Telemann’s Don Quichotte auf der Hochzeit des Comacho to New York.
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Strike Up the Band! cried the brothers Gershwin (and book-writers George S. Kaufman and Morrie Ryskind) in the first of their three satirical, vaguely political operettas—sort of jazz Gilbert & Sullivan—that they dreamed up in the late 1920s.
Rare is the revival of Il trovatore that boasts five first-rate singers, and such an occasion should be treasured. And so, at the Met last Saturday, it was.
Karim Sulayman’s intentions are to demonstrate links and roots, in themes musical and poetic, crossing every boundary of culture, religion, nationality, genre.
Rigoletto is the perfect opera. The story is straightforward and powerful; none of the action occurs backstage or between scenes or twenty-seven years before curtain rise; and the ethical anvil lands not once but twice, on the title character singing, “La maledizione!” The curse!
One moral is that Eugene O’Neill may just not be opera fodder.
They used to say of the island of Crete that it produces more history than can be consumed locally.
Folks who have never attended a full-length, uncut Giacomo Meyerbeer grand opera have been known to pout and ponder: Why did the most popular opera composer of the mid-nineteenth century all but vanish from the stages of the world after a hundred years?
To bring a well-known story to the stage, many methods are available.
parterre box turns 30 on Sunday and writers from around the box are reflecting on the legacy of founder James Jorden and three decades of “remembering when opera was queer and dangerous and exciting and making it that way again”
At the northern tip of Seneca, longest and deepest of New York State’s Finger Lakes, sits the pretty little town of Geneva.
In French opera—until Pelleas et Mélisande anyway—there is always a great deal of dance; often, dance rather than song is the main event.
Du Yun is the Pulitzer Prize-winning composer of Angel’s Bone. Her new opera, In Our Daughter’s Eyes, a one-act monodrama for bass-baritone and an orchestra of six, opened the current tenth Prototype Festival, in a performance at the Baruch Performing Arts Center, starring erstwhile Met regular Nathan Gunn.
A double bill (with a choral intermezzo) that just finished four nights’ run at the Manhattan School of Music is a delight, musically whimsical and reminiscent, wittily and colorfully staged.
Davóne Tines has sung with Early Music groups and avant-garde ones, and he has a taste for projects that cross artistic boundaries, which suits an innate showmanship.
Why is so twinkling, tuneful a score so little known?
Young voices ringing out Stravinsky’s witty melodies at close quarters gives great pleasure if you are fond of this witty score and its many parodies of early operatic cliché.
It’s 1938. We know, even if the characters do not, how the story will end.
Steve adored puzzles, solving them and creating them, so it makes you wonder that this one continued to fester—was that so few of his songs attained the rank of “standard.”
The people—I assume most of them were natives—seemed pretty happy at La Boheme at the San Carlo on Saturday night. For one thing, the theater was packed to the top tier, all of us masked (vigili di fuoco—firemen—made sure of that)
New Camerata Opera is presenting its first staged and indoor program in some time, at “The Muse,” a lofty cabaret space up against a cemetery in Bushwick, and their singers sound like they’ve been champing at the bit for eighteen months and are bursting to vocalize!
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