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