John Yohalem
The New Amsterdam Opera Company presented a concert Forza (orchestra and chorus, yes; sets and costumes, no) at $35 a ticket.
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Since Gilbert and Sullivan remain constant in the light-opera repertory, somewhere between Fledermaus and Les Mis in popular esteem, there must be good reasons their final collaboration, The Grand Duke, is seldom revived.
Pretty Yende was still hanging around after her last Barbiere and she knows the role of Elvira, having sung it in Zurich last June.
An unstaged performance of Juditha Triumphans by five soloists and the Venice Baroque Orchestra under Andrea Marcon.
strong>Christian Gerhaher does not appear at first to sing but rather to speak on pitches, telling stories, explaining words by lingering on them or biting them off short.
How often do you hear Macbeth with four really good singers in its four big roles?
Seville bills itself as the “City of 150 operas,” and celebrated this fact at the Exposition of 1992 by erecting a magnificent new opera house, the Teatro de la Maestranza, right beside the Plaza de Toros.
This year’s treat was Vittorio Gnecchi’s Cassandra, completed around 1905
David Lang is, per The New Yorker, a “postminimalist enfant terrible.”
You may wonder what Rachmaninoff’s Aleko and Leoncavallo’s Pagliacci have in common.
You don’t often hear the grand operas of Benjamin Britten on smaller stages.
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
The grand illusion is that we know it all. From four hundred years of opera, we’ve distilled the worthy survivors.
In how many operas does the heroine drink poison and then go lengthily mad?
The seventeenth-century works of Francisco Cavalli may be easier for modern audiences to accept.
With six leads in Gioconda, you can reliably hope that three or four will be worth listening to, or why would they have revived the opera?
Othello in the Seraglio is the rather unfortunate title bestowed by the ensemble Dünya on its “coffeehouse opera,” ossia The Tragedy of Sümbül the Black Eunuch.
Just when you thought it was safe to return to Rossini and Verdi—blam!
The concert presented by Opera Lafayette at the Alliance Française last Friday and Saturday was devoted to music of witty, short-lived Emmanuel Chabrier, notably Une Éducation Manquée.
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…
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