Cameron Kelsall
Renée Fleming arrived at Carnegie Hall on May 31 with something to prove.
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This Holländer offers neither a clear narrative vision for the work nor a sense of turbocharged drama; it simply sits on the Met’s cavernous stage as a dull gray mass.
Here’s an update for those keeping up with the Lohengrin casting sweepstakes at the Met.
The sharp and glitzy national tour production of Six doesn’t suffer from a sense of staleness due to familiarity.
Mezzo-soprano Fleur Barron showed herself unafraid to move the expectations of classical music forward, linguistically, thematically, and culturally.
The Vienna Philharmonic brought along no star soloist for their three-night residency at Carnegie Hall this past weekend. Their programs didn’t include any commissions or flashy new works. The repertoire choices hewed closely to the core Austro-German corpus for which they are justly famous, including multiple works they had given in their world premieres.
Cotton, a world-premiere song cycle commissioned by Philadelphia’s Lyric Fest, takes its audience on a journey through Black American history that extends from the Deep South to the contemporary urban landscape.
A main theme in Becky Nurse of Salem is how history is distorted by those who get to tell it.
Perhaps the quirkiest of Mahler’s nine symphonies, the Fourth fits nicely with Yannick Nézet-Séguin’s somewhat idiosyncratic style.
As the focal point of the The Far Country, Eric Yang anchors the production with a cool steadiness that only occasionally betrays a sense of urgency beneath his patient countenance.
Sondra Radvanovsky eschewed the customary stuffiness of the recital format, often speaking directly to the audience and putting her selections in a highly personal context.
Trouble was afoot from the first selection onward.
Countertenor Aryeh Nussbaum Cohen‘s star is surely on the rise.
Cost of Living, the Pulitzer Prize–winning play by Martyna Majok now on Broadway, overflows with complexity. It begins with the title.
People turn up at a cancer hospital on the worst day of their lives. In I’m Revolting, a moving and often unsettling world premiere from Atlantic Theatre Company, playwright Gracie Gardner dissects the fears and motivations of patients and their caregivers with surgical precision.
The smile for the fools is especially broad this summer in the Berkshires, where a charming revival of A Little Night Music opened recently at Barrington Stage Company.
A trip to Mediterranean climes came through musically, as the Boston Symphony Orchestra presented a largely satisfying concert performance of Don Giovanni on July 16.
People’s Light deserves commendation for resurfacing The Vinegar Tree, and there’s satisfaction in seeing a fine old play handled with care.
Zachary James builds on his early career experience as a musical theater performer to deliver a thoughtfully crafted, blessedly restrained Quixote/Cervantes.
Plucked from obscurity by Howard Hughes and sold to the public as a buxom, brunette heir apparent to his former protégé, Jean Harlow, Jane Russell became a household name before she ever shot a single reel of film.
If you missed Amour during its Broadway premiere 19 years ago, you’re not alone.
All in all, Mahler’s ethereal evocation of the natural world, and the world beyond our own, is becoming old hat.
