Dream a little dream of me
Gabriela Lena Frank’s El Último Sueño de Frida y Diego enchants and surprises despite the Disnified treatment of its subject matter.
12 pieces since 2019 — in 8 roles, at 3 companies, most often at Metropolitan Opera.
Gabriela Lena Frank’s El Último Sueño de Frida y Diego enchants and surprises despite the Disnified treatment of its subject matter.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
It’s back to business as usual at the Met, for better and for worse.
Ainadamar functions on two levels: as a defiant dance against fascist totalitarianism and as an exaltation of the diva.
West Side Story opened LA Opera’s 40th anniversary season with fury and flair
The Met’s mostly successful revivals of The Queen of Spades and La bohème showcase the returns of Sonya Yoncheva and Corinne Winters
Before this weekend, I never thought I would want to leave an opera by Act I. The recent production of Puccini’s La bohème at the Lyric Opera of Chicago taught me that there’s a first time for everything.
Cavalleria rusticana and Pagliacci at Lyric Opera of Chicago are hysterical in all the wrong ways.
If Sunday’s performance of Magic Flute at the Met demonstrated one thing, it is that opera targeted at children must be just as good as (if not better than) opera targeted at adults.
In its Met premier, neither a talented cast nor some beautiful musical moments were enough to make Florencia feel new or vital.
The opera utilizes the idea of “magical realism,” telling a realistic story combined with elements of magic and fantasy.
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