The company of wolves
Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
Adam Rigg
9 pieces since 2016 — at 4 companies, most often at Opera Philadelphia.
9
pieces
4
companies
11
years
Humdrum existence
Missy Mazzoli has established herself as one of contemporary opera’s most skilled and subtle architects of emotional response, and her latest, The Listeners—now at the Lyric Opera of Chicago—is no exception.
Humming chorus
Two opera houses, both alike in dignity (but less so in resources and international fame) launched their seasons this week, making similar out-of-the-box choices: new works on edgy, contemporary themes.
Acting is rè acting
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
Miracle on 64th Street
Only connect! So sayeth E.M. Forster (via Margaret Wilcox) in Howard’s End.
The end of this play isn’t written
“We came through the Depression by the skin of our teeth! One more tight squeeze like that and where will we be?”
Trauma queens
Though barely a week old, 2019 has already provided New Yorkers with an essential, breathtaking music drama focusing on two women struggling for their very survival.
Go away from my window
Hunger was the note of the night, a sentiment shared between the audience and Proving Up, a lean and hungry one-act telling a story of drought and desperation on the post-Civil War Western frontier.
Sea, no evil
Breaking the Waves is not only a “real opera,” it is an immensely powerful work of music drama.
New waves
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).