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.
A performance space called the Sheen Center has opened its doors way down the far end of Bleecker Street, a stoner’s throw from where CBGB’s used to thrive beside the itsy-bitsy Amato Opera House. (You never forget your first Oberto, Conte di San Bonifacio.) Sheen Center, sizable and modern and slim on personality, contains two…
By John Yohalem
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Mr. Peabody, that Leonardo among canines, claimed she was suffering from toothache.
By John Yohalem
The Rape of Lucretia, now (through Sunday) enjoying a superb three-performance run at the Juilliard Opera’s Willson Theater (tickets are scarce; hie thee to the waiting list), was Benjamin Britten’s third opera and first “chamber opera,” composed for the tiny original theater at Glyndebourne,
By John Yohalem
Ellen Douglas finds herself in Act II of Rossini’s La Donna del Lago in the far from unusual operatic position of having her love claimed by two impassioned tenors in the bel canto version of a macho drag race.
By John Yohalem
Gluck’s Iphigénie en Aulide (1774), the occasion of his Paris debut, gets far less respect than her sequel, Iphigénie en Tauride.
By John Yohalem
A Countertenor Cabaret, starred no fewer than 14 of these once-rare songbirds, in the cabaret space of the Duplex on Sheridan Square.
By John Yohalem
The visit of the Mariinsky Theater’s resident company to the glittering opera house of the Brooklyn Academy of Music consists of three ballet programs with starry casts preceded, last night, by a single performance of Rodion Shchedrin’s opera, The Enchanted Wanderer.
By John Yohalem
St. Paul’s Chapel is the perfect site for Saul, Handel’s finest dramatic oratorio.
By John Yohalem
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
By John Yohalem
A Birnam Wood of Macbeths and Ladys has come traipsing through New York this year.
By John Yohalem
Xavier Montsalvatge is best known in these parts for the songs of his “Antilles” period in the 1940s, the exquisite “Cinco Canciones Negras” and so on, making use of rhythms and melodies with a Caribbean flavor.
By John Yohalem
The Little Opera Theater of New York (LOTNY) is presenting a double-cast run of two of Floyd’s early one-acts, Slow Dusk and Markheim.
By John Yohalem
Meredith Monk and her Vocal Ensemble (five singers besides Monk, plus three instrumentalists) are giving a program called On Behalf of Nature through Sunday at BAM’s Harvey Theater.
By John Yohalem
Teatro Grattacielo is New York’s homegrown organization to rescue Verismo operas from oblivion, one per annum, allowing for the occasional double bill.
By John Yohalem
Purchase of Manhattan was given its world premiere on Thursday evening at the Marble Collegiate Church on Fifth Avenue.
By John Yohalem
A production as delectable as the current one (through Sunday) at the Juilliard Opera will make you wonder why Il Turco is not as well known as L’Italiana, Il Barbiere, La Cenerentola, even the odd and occasional Il Viaggio a Rheims.
By John Yohalem
A young friend messaged me to ask if I knew Rossini’s Macbeth.
By John Yohalem
It was a night a-tingle with excitement at the Metropolitan Opera House.
By John Yohalem
Gotham Chamber Opera, which began to operate twelve years ago with a double bill of Bohuslav Martinu’s quirky little pieces, opened its 2014-15 season with two more, Alexandre bis (Alexander, twice) and Comedy on the Bridge.
By John Yohalem
The rediscovery of Franco Faccio’s Amleto, a curious score that last week, via Baltimore Concert Opera, received its first performances since 1871, reminds us just how tough an act Giuseppe Verdi was to follow.
By John Yohalem
For those who like their Handel loud, with no forfeit of baroque finesse, one promising solution is to make the hall smaller.
By John Yohalem
They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub.
By John Yohalem
As One is an opera about a boy growing up to discover that he is a girl.
By John Yohalem
The little opera companies of New York are like chanterelles.
By John Yohalem
