The 20th anniversary revival of Richard Foreman and Michael Gordon‘s What to Wear at the PROTOTYPE Festival showcases a fabulous ensemble.
HERE’s Zoom opera, all decisions will be made by consensus, is not merely an opera written to be performed on a digital platform, but an opera that critiques the platform itself, laying bare all its social and aesthetic limitations.
The New York premiere of Kopernikus, an opera by the Canadian mystic Claude Vivier, who was murdered in Paris in 1983, three years after its completion.
Intolleranza was presented by Leon Botstein and his American Symphony Orchestra at Carnegie Hall on Thursday night, holding the audience rapt and intrigued for 65 minutes.
“In my music, there’s not repetition. Something is always going on.”
In the program for Opera Omnia’s production of Monteverdi’s Il ritorno di Ulisse, Crystal Manich, the company’s stage director, speaks of producing “baroque works in non-traditional ways.”
“Is a work an opera simply because its creators choose to call it one?”
Noticing how often she turns up lately, one might guess that the operatic “heroine” for the global economic crunch is Medea, the mythological Greek sorceress and filicide.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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