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.
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.
By John Yohalem
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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.
By John Yohalem
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.
By John Yohalem
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.
By John Yohalem
Why is so twinkling, tuneful a score so little known?
By John Yohalem
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.
By John Yohalem
It’s 1938. We know, even if the characters do not, how the story will end.
By John Yohalem
Two hours of bedazzlement await you.
By John Yohalem
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.”
By John Yohalem
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)
By John Yohalem
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!
By John Yohalem
The program was set around themes of loss, of unfulfilled wishes, the endurance of loss, triumphant or depressed.
By John Yohalem
This was a great and happy event, but it wasn’t so much a musical one.
By John Yohalem
If you have not been following the exploits of Teatro Grattacielo during lockdown, it’s not because they haven’t been exploitatory all over the place.
By John Yohalem
Jonathan Dove’s Flight, which premiered at Glyndebourne in 1998 and is now being streamed by the Seattle Opera, is structured like one of those baroque extravaganzas where some half dozen characters find themselves (in every sense) on a magical island, its properties little understood.
By John Yohalem
Dancing sheep! Flying sheep! Flying sheep who dance!
By John Yohalem
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
