Baritone John Brancy smoothly traverses the American songbook at Carnegie Hall.
Although somewhat flawed, Days of Wine and Roses draws from the same musical language that made Piazza so instantly distinctive, and it features a specificity that I noticed in Adam Guettel’s earlier breakthrough work, Floyd Collins.
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
Whether Lyric Opera of Chicago is an appropriate venue for such an intimate, gentle show as The Light in the Piazza is a subject of much critical debate.
An opera company presenting a Broadway musical that centers around a woman of a certain age travelling to Italy with her young daughter might seem more a vehicle for a great diva of a certain age.
The career of our beloved Renée Fleming deserves to continue… by whatever means necessary.
If I were Renée Fleming, I, too, would indulge myself.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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