It’s raining Mennonites It’s raining Mennonites

The music was at every point dramatically compelling, without seeming cheap or manipulative.

Scholarly pursuits Scholarly pursuits

“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”

Mountains of his words Mountains of his words

The audience greeted the opening night of Omar with more genuine enthusiasm than I have ever seen at Los Angeles Opera. 

A stolen life A stolen life

“Trove Thursday” offers a broadcast from last year’s London world premiere of Nico Muhly’s Marnie.

If it ain’t ‘Brokeback’ If it ain’t ‘Brokeback’

Between staging, music, and material, it’s hard to decide what feels most broken about New York City Opera’s American premiere of Brokeback Mountain.

Medium cool Medium cool

Nico Muhly has set himself the task of presenting Winston Graham’s elusive heroine Marnie on the operatic stage.

Haunted mountain Haunted mountain

Beginning with the dark, ominous music of the prelude of Charles Wuorinen and Annie Proulx’s opera Brokeback Mountain, we know we are in for a very different and far less sentimental version of the work than was had with Ang Lee’s iconic 2005 film.

Cid; vicious Cid; vicious

In his first appearance on the stage of Paris’ Palais Garnier, Roberto Alagna, as the newly knighted Rodrigue, was confronted with a profound dilemma.

I hear American singing

Since an early appearance as Schaunard in Baz Luhrmann’s Broadway La bohème, barihunk Daniel Okulitch has been steadily building a substantial career. Along with noteworthy performances as Don Giovanni in New York and Figaro in Le nozze di Figaro in Los Angeles, much of his career has been centered on contemporary work. He has leading…

Just salvage

Santa Fe has done a brave and laudable thing is presenting the first major revival of The Last Savage in decades, and if the libretto were, perhaps, translated into Hindu, the production values, excellence of cast, and directorial choices could conceivably work their magic of, if not pulling a rabbit out of a hat, then…

Brief encounter

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.