Reviews
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
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We are a nostalgic sort, we opera lovers. Fortunately, Korngold’s Die tote Stadt, which arrived in concert form to Boston’s Symphony Hall last weekend, is all about nostalgia.
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Following the successful launch of the new regular feature The Talk of the Town in January, the team at the box is inviting contributions for a new quarter of operatic potpourri.
After a flurry of coverage over the past weeks, Opera Lafayette, in partnership with New Orleans’s OperaCréole, finally premiered Edmond Dédé’s Morgiane, ou Le Sultan d’Ispahan in DC last night.
I’ve been waiting (nearly) 20 years for another encounter with Samuel Barber and Gian Carlo Menotti’s Vanessa.
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars‘s new production of Rameau‘s Castor et Pollux in Paris.
Are Beethoven’s symphonies overplayed? Yes, but for a reason. While this justification may sound cliché, Beethoven’s humanist universalism is a sentiment that feels urgent in an era of widespread polarization and pessimism.
Despite the practically unmitigated fiasco of the last Verdi concert opera performance seen in Boston, I approached Sunday’s Boston Youth Symphony Orchestras performance of Don Carlo at Harvard’s Sanders Theatre with much more optimism.
John Yohalem reports from the New York Dramatic Voices performance of Act III of Die Walküre
Though I’ve sometimes complained that the Paris Opera, while supposedly short of cash, changes its productions nearly as often as the rest of us change our socks, André Engel’s Cunning Little Vixen first appeared there 17 years ago. At the time it was billed as ‘new’, though it actually dates back further still, to 2000 at the Lyon Opera. I saw it when it arrived at the Bastille and wrote it up at the time.
Target Margin Theater proudly boasts that Show/Boat: A River, its small-scale and bare-bones staging of Show Boat (at the Skirball Center on Washington Square through the 26th), is a “bold reimagining” of the classic Jerome Kern & Oscar Hammerstein show, a “new adaptation that explores America’s transformation from the Jim Crow 1880s to the Chicago of the Great Migration to the challenges of today,” but I don’t see it.
Christopher Cerrone and Stephanie Fleischmann‘s opera at the Prototype Festival re-sets Rashomon in the Pacific Northwest and binds its characters into a hellish cycle of violence with a dark, hypnotic score
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
In the “tormented writers’” room, two actors in goth makeup and bride-of-Frankenstein wigs are clacking on typewriters and throwing crumpled papers on the floor.
The New York Gilbert and Sullivan Players are celebrating their 50th Anniversary Season presenting Ruddigore (last month), The Pirates of Penzance (first two weekends in January), and Iolanthe (on its way in April).
In Munich, performances by 97-year-old Herbert Blomstedt and 32-year-old Thomas Guggeis show the city’s orchestral ensembles at their best
Eat the Document, which premiered at the Prototype Festival last week, compresses a decades-long, nonlinear story into a swift 90 minutes while still finding time to pause for reflection.
David Fox and Cameron Kelsall take on a new revival of Gypsy: Is there any gayer or more impassioned theater topic?
Apologies in advance to Key’mon Murrah, whose rather extraordinary Marian Anderson award recital with pianist Brian Zeger at the Kennedy Center on December 17 demands some general musing.
Despite not being very happy with the state of the world (and the union) and not looking forward to the New Year, this past December I took in many festive holiday offerings including a pair of oratorios.
I had been hopeful that 2024 would end, if not on a high note, then one that was at least in tune.
What can you say, other than that everything was fab?
There are two problems to address – problems of the sort the arts thrive on addressing.
While the Met’s Mozart-lite holiday production of The Magic Flute kept the eyes entertained with spectacular sets and costumes, the scattershot casting and lack of musical seriousness dragged down this opera for beginners.
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