The New York Gilbert and Sullivan Players‘s vivacious music making compensates for uninspired storytelling in their staging of Utopia, Limited.
I so don’t get why any company in the Anglophone world ever bothers to perform Continental operetta in English.
A brilliant L’italiana in Algeri in Rome has Larry Wolff once again thinking about “singing Turks”
Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.
Opéra Royal revives Grétry’s Richard Cœur-de-lion, one of the finest examples of the opéra comique genre.
Since Gilbert and Sullivan remain constant in the light-opera repertory, somewhere between Fledermaus and Les Mis in popular esteem, there must be good reasons their final collaboration, The Grand Duke, is seldom revived.
The best joke in Offenbach’s delicious Orphée aux Enfers is the opening premise: Orphée and Eurydice are miserably married, due to her utter boredom with his old-fashioned music.
There has never been a successful vampire musical—so they say. But that’s just not true.
The Poisoned Kiss derives its plot from the legend of the girl raised on poison so that her very kiss will kill.
Packaged with a peek-a-boo cover exposing only Bryn Terfel’s lovely left eye (the effect of turning the page to reveal the Welsh bass-baritone’s head in its entirety brings to mind this Encyclopedia Dramatica entry) and an oddly hip-hop-flavored gray-on-black treatment of the album’s title, Terfel’s Bad Boys seems designed for those who like their divos…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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