Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa‘s bold production at the Lyric Opera of Chicago.
Though perhaps showing its age, a storied production of La bohème nonetheless makes a welcome return to the Los Angeles Opera
Suck it, Joseph Kerman: Puccini’s “Shabby Little Shocker” has outlived you and will probably bury us all.
A parade of young singers delight in an intimate Madama Butterfly at Amore Opera
Madama Butterfly is the opera of the moment.
Before rehearsals for Madama Butterfly started, Phil Chan sat down with the box to chat about his production, opera’s cultural appropriation problem, and why the last thing he’s trying to do is cancel Puccini.
The ailing and grief-stricken Pinkerton was shown to give his son a diary about his time in Nagasaki, and as Trouble read it, he (and the audience) was taken back in time as the story came to life, similar to the use of Pensieve in Harry Potter and the Goblet of Fire (Book 4).
It’s Easter season, and that can mean only one thing for opera: It’s Cavalleria Rusticana time. And I, for one, couldn’t be more excited.
The Hollywood Bowl is truly the preeminent musical venue in Los Angeles.
La Cieca would like to introduce a new feature debunking a popular misconception about some aspect of opera. To kick of the series, let us take into consideration Manon Lescaut’s expedition into the “desert” of Louisiana.
So the question was raised (on opera-l, actually, but La Cieca doesn’t mind discussing it in more downmarket venues): in Luc Bondy‘s production of Tosca, Karita Mattila appears in the third act in an entirely new outfit, a sort of tailored trenchcoat of dark leather-like fabric, but whatever she’s wearing, isn’t is a mistake?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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