John Yohalem
John Yohalem's critical writings have appeared in the New York Times Book Review, American Theater, Opera News, the Seattle Weekly, Christopher Street, Opera Today, Musical America and Enchanté: The Journal for the Urbane Pagan, among other publications. He claims to have attended 628 different operatic works (not to mention forty operettas), but others who were present are not sure they spotted him. What fascinates him, besides the links between operatic event and contemporary history, is how the operatic machine works: How voice and music and the ritual experience of theater interact to produce something beyond itself. He is writing a book on Shamanic Opera-Going.
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The performance of an opera, indeed, seems almost a third narrative, atop the dreamer under the scientific microscope and the larva turning into a butterfly, and the mingling is not always clear—but then, clarity never seems to be the intention.
By John Yohalem
The immediate and personal catastrophe interleaves with the general and universal and ancient.
By John Yohalem
Without furnishings to distract them, the cast prowled the stage with sinister energy, exchanging significant looks and deadly secrets as though fearing Nihilists behind every drapery.
By John Yohalem
The Murder of Halit Yozgat by Ben Frost and Petter Ekmann is flavorsome in its use of sound, vocal and otherwise, to explore the elements of the story, to keep you tied in, and guessing.
By John Yohalem
Nathan Hull was an operatic Quixote who did not go it alone, but inspired bands of optimists, giving proper employment to the many worthy New Yorkers mad enough to study voice and pleasure rare elsewhere to those of us thrilled to take it in.
By John Yohalem
We can delight in films that make use of motif to give opera-lovers an extra little jiggle.
By John Yohalem
Wagner must intrude at some point because he invented film music.
By John Yohalem
My first exposure to Lucia di Lammermoor came under the auspices of The Three Stooges.
By John Yohalem
Ester, Liberatrice del Popolo Ebreo was presented in concert on Thursday night by Salon/Sanctuary Concerts in the Brotherhood Synagogue on Gramercy Park, in proper time for Purim.
By John Yohalem
VIctor Herbert demonstrates in this slight, affectionate piece a talent for keeping his musico-dramatic balls in the air, as Madeleine’s spirits juggle, fall, rise again, and droop to elegant resignation at the last.
By John Yohalem
In Winterreise, Peter Mattei’s persona is burly and brusque, a sarcastic introvert, full of contempt for his romantic weaknesses with squalls of anger and lyrical reflection by turns.
By John Yohalem
We live in a time of open-season for jokes on ancient myths, mixing and matching, sometimes with great success, as The Book of Mormon and Hadestown demonstrate.
By John Yohalem
Cion: Requiem of Ravel’s Bolero is a dance-music-theater piece that Prototype Festival presented at the Joyce Theater through Saturday night.
By John Yohalem
The New York Gilbert And Sullivan Players is giving its umpteenth production of The Mikado through next Sunday at the Kaye Playhouse, and the show remains frisky and first rate.
By John Yohalem
Mozart and Donizetti could humanize characters in a farce—Mercadante in I due FIgaro cannot get a handle on them.
By John Yohalem
Heartbeat Opera has set Der Freischütz in a contemporary era, in a rural locale where gun culture reigns supreme and bullying is natural.
By John Yohalem
What is opera for if not to commemorate a national epic tragedy and triumph?
By John Yohalem
Come ye addicts of melody! After long eclipse, Bel Canto shines again!
By John Yohalem
A conversation with maestro Gil Rose of Odyssey Opera.
By John Yohalem
At the Park Avenue Armory, Barbara Hannigan chose to sing works that tested her metal in odd corners of vocalism.
By John Yohalem
In El Barbero de Sevilla, as given through the weekend by the New Camerata Opera, there is far too much comic dialogue, all of it in English and none of it sparkling.
By John Yohalem
Dell’ Arte Opera Ensemble’s “Scenes from the Tower” evening is devoted to three operas composed by women, and the metaphorical tower is women’s sequestration from the opera stage.
By John Yohalem
Whitney George’s music falls pleasingly upon the ear and is wittily scored for a small ensemble conducted by herself.
By John Yohalem
