John Yohalem
Forgotten operas when revived may prove to be only their own reward.
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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.
Lyric Opera of Chicago’s spectacularly colorful and glitzy new production of The Pearl Fishers opened on Sunday.
It’s a fairly traditional post-Patrice-Chereau Ring, set during the Industrial Revolution.
In the seventies and eighties Dominick Argento (who turned ninety this year) was one of the most oft-performed of American opera composers.
Flotow’s Martha, a work of 1847 that was popular around the world for a hundred years.
Riccardo Zandoni’s Il Grillo del Focolare is an opera after all.
Tchaikovsky’s Orleánskaia Djeva (The Maid of Orleans) kicked off Odyssey’s Opera’s fifth season
The turntable set looks much the same from any angle: gutted concrete tenements and perilous alleys, instantly recognizable as a scene of urban guerrilla mayhem.
Will Crutchfield’s Bel Canto at Caramoor program of concert operas concluded with a bang on Saturday with Bellini’s first success, Il Pirata.
It is always a pleasure to hear a great orchestra take on a major score that might sound half-muffled emerging from the pit of an opera house.
In the same season that Manhattan School of Music revived The Gypsy Baron, Riverside Theater around the corner is the site of Amore Opera’s “Season of Gypsy Operas.”
Diana Damrau has chosen for her new Erato recital disc Grand Opera 11 high-flying showpieces from ten operas by Giacomo Meyerbeer.
Zolotoy pyetushok (translated as The Golden Cockerel in English, is best known in these parts as Le Coq d’Or.
The cultiest of cult musicals, an All-American take on the Iliad and the Odyssey, the spectacularly witty Golden Apple of John Latouche (words) and Jerome Moross (music), opened Off Broadway in 1953 to some acclaim.
Douglas Moore’s score for The Ballad of Baby Doe has everything that could please and little that could offend.
Antonio Literes, a boy soprano from Majorca, had, we may presume, friends in high places.
It is much to be regretted that song recitalists stick to the tried, the true, the excessively familiar when the repertory of song is so vast, so full of treasures ready for the light
In The Gypsy Baron (Der Zigeunerbaron), currently (through Sunday) enjoying a revival by the Manhattan School of Music Opera Theater, you get Strauss waltzes and patriotic marches.
Be wary of operas that are famous for just one aria or just one famous opinion.
I was puzzled by my initial exposure to the Medea of Aribert Reimann, a work of 2010.
A brilliant production of La Juive like that of Peter Konwitschny generalizes the message that mindless hate does not pay and the mindless mob is always the enemy of civilization.
La Campana Sommersa (The Sunken Bell), which is being presented by the New York City Opera at the Rose Theater through April 7, is a true oddball.
Leos Janacek composed Adventures of Vixen Sharp-Ears, with its singing forest creatures of many species, in 1922-23.
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