The premiere recording of David T. Little’s What Belongs to You reveals a work of both tenderness and artistic tenacity.
Barbara Strozzi links two sensuous programs by L’Arpeggiata and Catapult Opera.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
Karim Sulayman’s intentions are to demonstrate links and roots, in themes musical and poetic, crossing every boundary of culture, religion, nationality, genre.
The beginning of Mary Kouyoumdjian’s Adoration is marked by silence. The young Simon, played by Sammy Ivany, lies on his stomach, scribbling in a notebook.
In Handel’s Rodelinda, a usurped monarch, believed dead, returns to avenge his deposition and reclaim the woman he loves.
Rather than focusing on a narrative, Unholy Wars explores a series of timeless yet current themes: war, destruction, alienation, and what it means to be perceived as outsider—particularly from the Middle East—in the context of a violent world.
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.”
Sneaking in under the wire during the final week of May were two highpoints of New York’s opera season: the Cleveland Orchestra’s Salome with a stunning Nina Stemme and operamission’s revelatory US stage premiere of a complete edition of Handel’s first opera Almira.
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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