Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
The music was at every point dramatically compelling, without seeming cheap or manipulative.
I have a confession and you may need to sit down for it: Andrew Lloyd Webber’s Evita was one of the gateway drugs to my eventual opera fandom.
Trove Thursday previews next week’s BBC Proms presentation of Elgar’s The Dream of Gerontius with a 2008 broadcast conducted by Colin Davis with Sarah Connolly, Ben Heppner and Gerald Finley.
The Met is on it with something something woker than woke: a noirish psychodrama of a frigid hysteric who seeks redemption via Freudian analysis!
The creation of Kurt Weill’s The Eternal Road and its lately remodeled avatar, The Road of Promise, boiled down and premiered at Carnegie Hall Wednesday night by the Collegiate Chorale and the Orchestra of St. Luke’s, was an intricate process, far more interesting than the work itself.
Renée Fleming is one of the most polarizing figures to be discussed here on an ongoing basis.
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
The Little Opera Theater of New York (LOTNY) is presenting a double-cast run of two of Floyd’s early one-acts, Slow Dusk and Markheim.
Ambiguity. That’s the theme of the operas of Benjamin Britten (ennobled as Baron Britten of Aldeburgh).
André Previn‘s A Streetcar Named Desire, with the “People’s Diva” herself in the iconic role of the unstable Blanche DuBois.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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