In recent years, Opera Paralléle has established a reputation for creative programming of contemporary opera in San Francisco. Persuaded both by the promise of an unusual Bernstein-Heggie double bill, and the unusual venue of SF Jazz’s Miner Auditorium, I had the pleasure of attending an excellent production this past week.
The opera is relentlessly obvious, a work that repeatedly turns to tired tropes and canned characters to fill up its nearly three hour run time.
Washington National Opera’s American Opera Initiative, now in its 5th year, keeps the opera flame alight at the Kennedy Center during the long winter stretch between mainstage WNO productions.
Jarrett Ott is a star. That is the only surprise takeaway from the well-intended snore, Cold Mountain.
Hopefully the assignment of Herman Melville’s endless whaling opus Moby-Dick as compulsory reading for High School students is a thing of the past.
They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub.
It’s hard to come up with any sensible reason to dislike Joyce DiDonato.
Since an early appearance as Schaunard in Baz Luhrmann’s Broadway La bohème, barihunk Daniel Okulitch has been steadily building a substantial career. Along with noteworthy performances as Don Giovanni in New York and Figaro in Le nozze di Figaro in Los Angeles, much of his career has been centered on contemporary work. He has leading…
Like the double or triple negative (where theoretically pairs of “nots” cancel each other out, but in practice you can’t be so sure) this tidbit of news La Cieca just read has her confused and uncertain. It seems that at a recital in Tulsa last night, Dame Kiri te Kanawa sang as an encore a…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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