Sylvia Korman is a recent graduate from Barnard College and a recent devotee of all things opera. They like mezzos in pants, Met Opera student tickets and reading the comments sections. See their tweets at ? boy eternal ? and people mad at opera.
Sylvia Korman
As Christopher Corwin detailed in his review of the Anna Netrebko-helmed iteration of this production, Adriana Lecouvreur is an opera that seems to be most often mounted as an excuse to showcase the sort of one-in-a-million, top-of-their-game, mega-divas of which Adriana is herself one. Read more »
I really cannot exaggerate the extent to which I truly did not know what was going on in New York City Opera’s production of Maria de Buenos Aires. Read more »
Celebrated conductor William Christie, widely considered among the foremost interpreters of early-music for modern audiences, and his acclaimed ensemble Les Arts Florissants have delighted audiences at BAM (Brooklyn Academy of Music) for 30 years. On March 1st, they return with Rameau, maître à danser, featuring two rarely seen operas originally penned by 18th-century French composer Jean-Philippe Rameau for the court of Louis XV.
A pastoral atmosphere prevails throughout La naissance d’Osiris, a one-act ballet set to a libretto by Louis de Cahusac commissioned to celebrate the birth of the Duke of Berry, future Louis XVI; Daphnis et Églé tells the story of two lovers ignorant of their own love for each other, charming audiences with its use of classic European dance styles like sarabande, gavotte, gigue, minuet, tambourin, and contredanse.
Both operatic miniatures served as a symbol of the court’s opulence as well as a source of evening entertainment; together, as Rameau, maître à danser, they serve as a sublime showcase for Christie’s singular brilliance and the ravishing power of baroque music. At the BAM Howard Gilman Opera House Mar 1—3. Read more »
Columbia University’s Miller Theater is a small space, intimate, and wider than it is deep, but last night, waiting for the New York City premiere of Missy Mazzoli’s Proving Up, the eager and expectant energy of the audience could have filled a much larger house. Read more »
I’m no fach expert but I will admit the “gay stile” is a new one for me — somewhere between the lyric and the dramatic tenor voices, perhaps?
I love the comments that really seem to think they balanced the positive with the negative.
Sounds like a better Friday night than “what the composer intended.”
Broadway’s new Head Over Heels is anything but under committed; it’s a show with an irresistibly fun spirit and an infallibly good heart.
“Too sexy” is a hell of an accusation for a woman wearing a giant mesh Brillo pad!
Cher Public