Back to Brussels last Sunday for my third new opera of the season (after The Time of our Singing, also at La Monnaie, and Picture a day like this, at the Opéra Comique): Mikael Karlsson’s Fanny and Alexander, with a libretto by Royce Vavrek.
During the 1970s, Stephen Sondheim composed Company, Follies, A Little Night Music, Pacific Overtures and Sweeney Todd–five richly varied masterpieces of musical theater in a nearly miraculous burst of creativity.
Since April four wildly varied incarnations of Hamlet have been haunting New York City theaters; the most recent to arrive was Robert Icke’s chicly contemporary take on Shakespeare’s play which opened last week at the Park Avenue Armory.
Though barely a week old, 2019 has already provided New Yorkers with an essential, breathtaking music drama focusing on two women struggling for their very survival.
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
In September, Finnish National Opera gave the world premiere of Höstsonaten (Autumn Sonata), based on Mr. Bergman’s 1978 study of a troubled mother/daughter relationship.
I finally get to complete my personal operatic Top Ten this week with Igor Stravinsky’s only full-length opera, The Rake’s Progress.
>What does a great opera production do, and what does a bad production fail to do?
Sometimes when you find the club that will have you as a member, you do not easily give up your spot.
I’ve long been a fan of Kenneth Branagh, even though this fandom feels a bit like being a camel in the desert.
A Little Night Music at the Walter Kerr last night left me longing for a little more than we were given. Yes, there are some wonderful things about this revival of Stephen Sondheim’s most unabashedly romantic musical – and I’ll get to those in a minute – but the sets and costumes by David Farley…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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