John Yohalem

Something’s comin’

This program honored the singer, composer and theorist Giulio Caccini, “Giulio da Romano,” on the 400th anniversary of his death.

Elopement, Neapolitan style

Niccolò Jommelli, forgotten now, was quite well known in Italy and southern Germany in his day.

A past recaptured

The New York Gilbert and Sullivan Players (NYGASP to its friends) is giving Sullivan’s most operatic score a dusting off (or should one say dusting-up?) at the Kaye Playhouse at Hunter College.

I think we’ve got her number

“Are we Team Guelf or Team Ghibelline?”

Take me out to the bull game

I braved the alarming and majestically colorful wall-graffiti-art of Bushwick to attend Bullfight Boylesque, which runs to October 28.

Djinn and tonic

Odyssey Opera in Boston, which loves to open its season with a concert performance of some forgotten work, gave La Reine de Saba in Jordan Hall Saturday night.

The art of the steel

This Sony Classical set of live performances covers a golden quarter century in the singing and staging of Wagner. Birgit Nilsson shared it with many other legends, and many of them appear on these discs.

Congas on the Roof

In Hatuey, composer Frank London and librettist Elise Thoron have created something that crosses boundaries from cabaret romance to flashback historical pageant to revolutionary thriller.

Cipher space

Salieri’s La Cifra (“The Cipher”) played all over Europe for 20 years, in several translations (German, Spanish). Then, like many a worthy work, it was forgotten.

Mostly NYFOS

The theme was “Lyrics by Shakespeare.”

Social Medea

Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.

The boy from Syracuse

Tancredi is a serious opera, which means that at its heart lies a dilemma. 

Too cloistered for comfort

New Amsterdam Opera’s concert version of Donizetti’s elaborate score La favorita, offered energy, panache and several top-notch young soloists.

When in Rome

Mozart was barely sixteen when he wrote Lucio Silla to open the Carnival in Milan in 1772.

Virgin territory

When Arthur Sullivan (not yet Sir Arthur) composed his “dramatic oratorio” The Martyr of Antioch in 1880, he had just completed The Pirates of Penzance.

Lovedeath in swingtime

I broke up with my first lover over the phone and while watching TV. I’m not proud of this. 

Giglio d’april

April brought I Puritani to Palermo’s centerpiece Teatro Massimo.

King of the Neapolitan road

At Palermo’s Teatro Massimo, Zerline, the heroine of Auber’s once beloved Fra Diavolo , undresses down to frilly French skivvies.

No retreat, Nono surrender

Intolleranza was presented by Leon Botstein and his American Symphony Orchestra at Carnegie Hall on Thursday night, holding the audience rapt and intrigued for 65 minutes.

Stout fellow

There are two delights here: a delectable score too rarely heard and an introduction at close quarters to half a dozen young singers ready for takeoff, indeed already flying.

Take this ‘Job’ and stage it

There is some difficulty in describing just what IYOV the musical occasion is—and I’ll take refuge in calling it a musical work in the current PROTOTYPE Festival.

A little Proust

Though the novel’s structure and texture are often compared to musical forms such as Wagnerian music-drama, who would attempt to turn Proust’s A la Recherche de Temps Perdu into opera?

Well-trod cinders in fitting slippers

Forgotten operas when revived may prove to be only their own reward.

What’s at stake for a soul on fire?

Norman Dello Joio, who was knocking about winning prizes for film and TV scores, composed The Trial at Rouen, his second opera on the subject, for NBC.

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