Reviews
It’s not hard not to feel jaded about Romeo and Juliet.
29 comments
Those of us in New York City who relish 17th century Italian vocal music were offered an enticing banquet over the past few weeks.
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Émigré, unfortunately, fails to do justice, either musically or theatrically, to this group of refugees or to the Shanghainese who took them in.
From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.
Finding Britten’s The Rape of Lucretia on the Academy of Vocal Arts calendar was both a pleasure and something of a surprise—the latter because the work is far from central repertoire, even in a conservatory.
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
Leos Janácek’s rise to international prominence as a Titan of music was dovetailed by a cluster of profoundly original operas that were written during his extraordinary autumnal years.
Anna Bolena is one of the many works by Donizetti which, after their modern recovery in the second part of the last century, have both never fully left the stage while simultaneously never becoming a repertoire staple Lucia di Lammermoor or L’elisir d’amore.
I watched the finals for this year’s George and Nora London Foundation competition and would like to offer, if not a traditional review, a brief roundup of who I found exceptionally watchable and whom I think you, dear parterre boxers, should watch out for in the next few years.
The phrase “immersive Coffee Cantata experience” evokes being dipped into a giant, boiling vat of java.
With its sumptuous wood paneling, frescoed ceilings, and various Gilded Age trappings, the Park Avenue Armory’sBoard of Officers Room certainly is not a bad place to spend Valentine’s Day—even better when it plays host to equally sumptuous music-making.
Taylor Mac isn’t known for being short-winded.
We may all be armchair Handelians, but some of us are more used to it than others.
Real estate is hot along the Acela corridor right now: as proof, Judith will have toured at least three castles in New York and Boston between this spring and last.
How many hours of our lives are spent looking back?
I had some trepidation about attending Terence Blanchard’s opera Champion because the “sport” of boxing has never appealed to me.
Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
And what a sonically fascinating and vibrant Atys it is!
Boston Symphony Orchestra recently confirmed an infinitely renewable contract upon Andris Nelsons, its music director since 2014. To understand why, one needed little more evidence than the outfit’s recent visit to Carnegie Hall.
The newest Italian production of L’incoronazione di Poppea was a splendid example of how a 17th century opera can be performed in the best possible way today
The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
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