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.
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.
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…
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,
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.