Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
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.
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.
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
Only connect! So sayeth E.M. Forster (via Margaret Wilcox) in Howard’s End.
“We came through the Depression by the skin of our teeth! One more tight squeeze like that and where will we be?”
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.
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.
Breaking the Waves is not only a “real opera,” it is an immensely powerful work of music drama.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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