Gabriela Lena Frank’s El Último Sueño de Frida y Diego enchants and surprises despite the Disnified treatment of its subject matter.
Cavalleria rusticana and Pagliacci at Lyric Opera of Chicago are hysterical in all the wrong ways.
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.
Ainadamar functions on two levels: as a defiant dance against fascist totalitarianism and as an exaltation of the diva.
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.
In its Met premier, neither a talented cast nor some beautiful musical moments were enough to make Florencia feel new or vital.
On June 20, a rather breezy, pleasant cool summer evening, the soprano Gabriella Reyes, tenor René Barbera and baritone Will Liverman took over the Summerstage space with a wide-ranging, ambitious recital program with Dimitri Dover tickling the ivories.
The opera utilizes the idea of “magical realism,” telling a realistic story combined with elements of magic and fantasy.
It’s back to business as usual at the Met, for better and for worse.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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