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.
The New Camerata Opera performs a double bill of John Blow’s Venus and Adonis, sometimes dubbed the first English opera, and Gustav Holst’s Savitri.
By John Yohalem
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Give the creators credit for producing an emotional response.
By John Yohalem
Washington Concert Opera on the occasion of Gounod’s 200th birthday presented the American premiere of his first opera, Sapho.
By John Yohalem
This program honored the singer, composer and theorist Giulio Caccini, “Giulio da Romano,” on the 400th anniversary of his death.
By John Yohalem
Niccolò Jommelli, forgotten now, was quite well known in Italy and southern Germany in his day.
By John Yohalem
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.
By John Yohalem
“Are we Team Guelf or Team Ghibelline?”
By John Yohalem
I braved the alarming and majestically colorful wall-graffiti-art of Bushwick to attend Bullfight Boylesque, which runs to October 28.
By John Yohalem
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.
By John Yohalem
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.
By John Yohalem
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.
By John Yohalem
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.
By John Yohalem
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
By John Yohalem
Tancredi is a serious opera, which means that at its heart lies a dilemma.
By John Yohalem
New Amsterdam Opera’s concert version of Donizetti’s elaborate score La favorita, offered energy, panache and several top-notch young soloists.
By John Yohalem
Mozart was barely sixteen when he wrote Lucio Silla to open the Carnival in Milan in 1772.
By John Yohalem
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.
By John Yohalem
I broke up with my first lover over the phone and while watching TV. I’m not proud of this.
By John Yohalem
April brought I Puritani to Palermo’s centerpiece Teatro Massimo.
By John Yohalem
At Palermo’s Teatro Massimo, Zerline, the heroine of Auber’s once beloved Fra Diavolo , undresses down to frilly French skivvies.
By John Yohalem
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.
By John Yohalem
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.
By John Yohalem
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.
By John Yohalem
