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.
If only—if only half the creativity and spectacle that Encompass New Opera Theatre has lavished on its lively production of The Astronaut’s Tale (at the BAM Fisher through Sunday) had been expended on the pretentious libretto by the late Jack Larsonand the quirky, unappealing score by Charles Fussell…
The creation of Kurt Weill’s The Eternal Road and its lately remodeled avatar, The Road of Promise, boiled down and premiered at Carnegie Hall Wednesday night by the Collegiate Chorale and the Orchestra of St. Luke’s, was an intricate process, far more interesting than the work itself.