review / performance
Kurt Weill, Ira Gershwin, and Moss Hart’s 1941 musical Lady in the Dark is a psychoanalytical romantic comedy. It simultaneously mocks and takes seriously the power of looking inward to understand oneself, a process which can be silly, frustrating and life-changing in turn.
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For me, Fedora is the perfect opera
What happens when you attend a performance and it doesn’t engage you?
Joyce DiDonato’s Eden immerses listeners within a centuries-spanning musical meditation that channels the majesty of our natural world.
Shortly before Tuesday’s performance of Salome at La Scala, I did something I rarely do: I took a mirror selfie.
By Harry Rose
It doesn’t get more classic than John Dexter‘s Dialogues des Carmélites.
By Kevin Ng
On paper, the Met’s revival of L’elisir d’amore looked like a lovely evening. And at times it was—a few scenes hinted at what it could be and what it might yet become.
By Eli Jacobson
We constantly wonder whether the young man will embrace him—or slit his throat.
Du Yun is the Pulitzer Prize-winning composer of Angel’s Bone. Her new opera, In Our Daughter’s Eyes, a one-act monodrama for bass-baritone and an orchestra of six, opened the current tenth Prototype Festival, in a performance at the Baruch Performing Arts Center, starring erstwhile Met regular Nathan Gunn.
By John Yohalem
Plink. A marble drops into a bowl. A brief yelp from glass, and a dozen, a hundred, a thousand years pass. Eventually the bowl is full of marbles, each one a tiny globe.
The first time I heard of Ermonela Jaho it was as the ultimate understudy. In the aughts it seemed that every time Angela Gheorghiu or Anna Netrebko or whoever canceled, Jaho was standing by.
By Eli Jacobson
Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.
By Harry Rose
Do you ever wonder how easy it is to invent a Christmas tradition?
That Some Like It Hot—this season’s high budget and high-profile Broadway musical—fizzles rather than sizzles is not only a disappointment, but also a bit of surprise.
