Opera directors could learn a thing or two from Deaf Broadway’s vivacious performance of Jeanine Tesori‘s Violet.
Jeanine Tesori’s Blue is an ambitious and worthy opera that deserves a better presentation than it got at Lincoln Center on Saturday.
Richard Lynn bravely asks what we’re hoping to get out of the continued Peter Gelb-bashing — and whether our expectations of him have ever been fair
American opera and its institutions are experiencing an identity crisis. Nowhere is this clearer than in Tazewell Thompson and Jeanine Tesori’s Blue.
It’s not so much that I hated the Met Opera’s Grounded. I’m just not convinced that it should have been an opera.
The music was at every point dramatically compelling, without seeming cheap or manipulative.
Two opera houses, both alike in dignity (but less so in resources and international fame) launched their seasons this week, making similar out-of-the-box choices: new works on edgy, contemporary themes.
Her star is indeed on the rise, but squarely on her terms.
Chopping up the action and dutifully showing each plot point may work in a film but in an opera, where every piece of marginal dialogue must be set to music, it feels like a chore.
Originally scheduled for a D.C. premiere in spring 2020 but thwarted by the pandemic, Washington National Opera was finally able to present composer Jeanine Tesori and librettist Tazewell Thompson’s Blue at the Kennedy Center last Saturday.
Baritone Will Liverman is becoming a real Renaissance man.
Do you know the musical about the quirky little girl, her dysfunctional family and the devastating secret that binds them all together?
I see in Kimberly Akimbo an audacious idea, once unthinkable territory for a musical, which is realized through a highly imaginative and often unpredictable use of song and especially open-ended ensemble writing.
From an exposure standpoint, Ruth Bader Ginsburg was the best thing to happen to opera since Beverly Sills.
The Met recently submitted another eye-roll inducing entry for the Woke Olympics with their Women’s History Month slate.
While Russell Thomas admirably goes toe to toe with Otello (and Otello) in a thoughtful and self-aware way, the assumption feels like a work in progress if not an outright mismatch with his vocal gifts.
The Glimmerglass Festival premiered a searing examination of race, identity, and the fraught relationship between communities of color and law enforcement. Blue, with a score by Jeanine Tesori and libretto by Tazewell Thompson.
For my 2014 retrospective, I’ve chosen two shows from the past year that are returning in 2015 and that really shouldn’t be missed by NY-based-and-visiting parterriani.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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