John Yohalem
Richard Strauss’s many one-act operas make excellent concert programs, both for their length (usually under two hours) and the primary place each gives the orchestration, a specialty where Strauss’s brilliance seldom deserted him.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
Harry Lawrence Freeman’s Voodoo, begun sometime before 1914, was completed and first heard on radio in May, 1928, then staged on Broadway later that year—seven years before Porgy and Bess, please note.
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.
On Saturday, a new company called Bare Opera gave its first performance, a double bill of Debussy’s L’Enfant Prodigue and Ravel’s L’enfant et les sortilèges, at the Robert Miller Gallery in Chelsea.
It could get loud. It often does, especially when the soprano is mere inches from your ears, pleading with the duke for the life of the poor boy (parentage unknown) who insulted her notorious dynasty.
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…
Mr. Peabody, that Leonardo among canines, claimed she was suffering from toothache.
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,
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.
Gluck’s Iphigénie en Aulide (1774), the occasion of his Paris debut, gets far less respect than her sequel, Iphigénie en Tauride.
A Countertenor Cabaret, starred no fewer than 14 of these once-rare songbirds, in the cabaret space of the Duplex on Sheridan Square.
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.
St. Paul’s Chapel is the perfect site for Saul, Handel’s finest dramatic oratorio.
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
A Birnam Wood of Macbeths and Ladys has come traipsing through New York this year.
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.
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.
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.
Teatro Grattacielo is New York’s homegrown organization to rescue Verismo operas from oblivion, one per annum, allowing for the occasional double bill.
Purchase of Manhattan was given its world premiere on Thursday evening at the Marble Collegiate Church on Fifth Avenue.
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.
A young friend messaged me to ask if I knew Rossini’s Macbeth.
It was a night a-tingle with excitement at the Metropolitan Opera House.
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.
A Baroque Valentine’s with Opera Lafayette | Feb | DC & NYC
Celebrate love in all its guises with tender ballads, amorous duets, cheeky verses, and bawdy drinking songs plus food, cocktails and wine.
