Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
Though perhaps showing its age, a storied production of La bohème nonetheless makes a welcome return to the Los Angeles Opera
Operettas always seem to be on the menu for New Year’s Eve, so Chris’s Cache joins in with a broadcast of Offenbach’s delicious La Grande-duchesse de Gérolstein featuring Stephanie Blythe in the title role.
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
Instead of following the story, we in the audience spend most of the evening thinking “What?? Why is that happening?”
Today the good guy finally gets his chance with San Giovanni Battista by Alessandro Stradella featuring Christophe Dumaux as John the Baptist.
Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America provides ample fodder for the legions of amateur opera sleuths seeking to confirm their theory of “Who Killed City Opera?”
If you’ve ever wondered what the Lost Boys’ abode might look like lined with mermaids, shopping carts, and unpeeled potatoes, look no further than Christopher Alden’s new production of Peter Pan.
Wednesday brought Christopher Alden’s grimly dark and violent take on Handel’s Aci, Galatea e Polifemo at National Sawdust.
“CanCon”, or Canadian Content, is always a concern in Canadian cultural discourse.
I would love to contribute a top ten list but I didn’t even go to ten things this year.
Christopher Alden‘s production of Handel’s Partenope is so erudite and theatrically audacious and also such a rollicking ride, it’s hard to believe it isn’t crap.
It’s hard to think of a rare work by a great composer more tailor-made for a twenty-first century reexamination than Mozart’s Il Sogno di Scipione.
Scanning this summer’s Mostly Mozart schedule one wondered if New York really needed another Don Giovanni right now? And one with a non-starry cast where the best-known name was the Commendatore, Kristinn Sigmundsson?
The ENO was filled with ghosts last week. Spectral, possibly illusory figures fleetingly materialized in the Internet chatrooms that provide the setting for much of Nico Muhly’s new opera Two Boys, and brutal boarding school memories came back to troubled life in director Christopher Alden’s dark take on Benjamin Britten’s A Midsummer Night’s Dream.
Squirrel was expecting boobs! People, there were no boobs, and for that, I was a little disappointed.
The day after opening the 2009-10 season with Hugo Weisgall’s Esther, New York City opera presented one of the most beloved operas in the entire repertoire, Mozart’s Don Giovanni, in a new production by Christopher Alden.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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