Reviews
Some operas carry around the shadow of their most famous interpreters more than others.
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Mixing the historical with the personal in strikingly original ways, Davóne Tines and Zack Winokur’s Robeson sent sparks out over the Hudson.
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The outdoor recitals that the Metropolitan Opera presents in New York City Parks every summer are a wonderful way to showcase rising young stars and promising beginners from the Met’s Lindemann Program.
On Friday, June 21st, Opera Parallèle – the Bay Area nomadic, contemporary opera company – together with the Presidio Theatre unveiled their final production of the season, the West Coast premiere of Gregory Spears and Greg Pierce’s Fellow Travelers, an adaptation of Thomas Mallon’s 2007 novel of the same name.
PRISM Quartet teams up with Tyshawn Sorey, David Krakauer, and a host of some of the finest new music musicians and composers in the nation to create Generate Music: a musical exploration of the ties that bind together Black and Jewish Americans.
Bergamo hosts an annual Donizetti festival, Salzburg presents a Mozart-woche every January, and of course there is Bayreuth for Wagner. But Handel gets two festivals every spring, and this year I was finally able to attend one of them.
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
She can’t put her foot on the gas the way she used to but there’s still plenty of fuel in that tank.
I’m old enough to remember when Yannick Nézet-Séguin could do no wrong.
On June 11th, the Met Orchestra returned to Carnegie Hall with a diverse program led by music director Yannick Nézet-Séguin.
As an opera fanatic who was baptized by the blood of Leontyne Price, the Messa da Requiem by Giuseppe Verdi appeared on my radar fairly soon after I started delving into the operatic canon.
There were, of course, other Chénier recordings beyond the truly great ones…
“The distance between dreams and reality is called action.” – Brian Tracy
Witnessing William Christie guide his orchestra and singers was truly one of this performance’s greatest highlights.
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
A work that skimps on profundity need not be devoid of entertainment value, and Madrid’s charismatic soloists and musicians more than capably deliver on this front.
Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
You can imagine my surprise at encountering an almost wholly traditional staging with one teensy difference.
Peter Sellars’s rarely radical climate epic Shall We Gather at The River brought together a superb collection of musical talent for an unfortunately incoherent night of sacred song.
Matthew Polenzani strode into the Park Avenue Armory’s Board of Officers Room last Monday evening and was received like a beloved friend–and indeed that is what he is to many of New York’s opera-goers.
Washington National Opera’s final production of the season, seen May 22, is also its high point: a new Turandot directed by Francesca Zambello, updated to the 20th century and featuring the world premiere of a completion of Puccini’s score by composer Christopher Tin and playwright and screenwriter Susan Soon He Stanton.
It has been a great season for prolific Bay Area composer Jake Heggie.
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