Matthew Travisano has such doubts about Douglas Cuomo‘s opera recently seen at Opera Parallèle.
On Friday, June 21st, Opera Parallèle – the Bay Area nomadic, contemporary opera company – together with the Presidio Theatre unveiled their final production of the season, the West Coast premiere of Gregory Spears and Greg Pierce’s Fellow Travelers, an adaptation of Thomas Mallon’s 2007 novel of the same name.
Bay Area composer Mason Bates’s and librettist Mark Campbell’s contemporary opera about the life of the tech mogul Steve Jobs came home “to the place where it all began” in spectacular fashion
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.
Gregory Spears’ latest opera Castor and Patience, with a libretto by former US Poet Laureate and Pulitzer Prize-winner Tracy K. Smith, was commissioned by Cincinnati Opera to celebrate its centennial season in 2020.
The opera’s radical vision lay in its enormous scale, which encompassed a hundred-strong community chorus taken from the ranks of the Brooklyn Youth Chorus and Master Voices.
With the Philadelphia Orchestra’s Candide, they saved the best (of all possible worlds) for last.
I found Fellow Travelers intellectually and politically riveting, musically thrilling, and profoundly moving. It was a triumph.
The production is at all times visually arresting, but it’s also extremely distracting.
Composer Gregory Spears is a unique example of this maxim that one must be “deeply rooted in tradition in order to innovate with integrity.”
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
Radvanovsky delivered a vocal and histrionic performance that should be the gold standard Norma for years.
Cincinnati Opera presented the world premiere Fellow Travelers Friday and I’m here to tell you that not only does the opera have legs, it has balls.
There was a certain frisson in the air entering Chicago Lyric Opera last night, and not just in anticipation of attending the world premiere of a new work by Jimmy Lopez (music) and Nilo Cruz (libretto), Bel Canto.
The Manchurian Candidate is indeed operatic: outsized characters, a doomed love story and a narrative fraught with suspense.
Cocooned in an amiable production of Theo Morrison‘s revised Oscar, David Daniels flew to new heights in the congenial title role.
Having heard a bit of the opening night broadcast and read some decidedly mixed reviews, I was totally unprepared for the remarkable performance of Donizetti’s Anna Bolena that I attended on December 15 at Chicago Lyric Opera.
Far be it from me to join the Schadenfreudian chorus of “Bye, Bye, Berti!” you may have been hearing in certain quarters, but the first thing I am duty-bound to report about San Francisco Opera’s Norma (of which three performances remain) is that they’ve hit the jackpot, coverwise.
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
After Heart of a Soldier, The Perfect American, The Gospel According to Mary Magdalene, et al., the premiere of Theodore Morrison’s Oscar in Santa Fe last Saturday came as a welcome relief.
It seems a thing incredible but fifty years ago Richard Strauss was regarded as the wunderkind composer of a few tone poems, three notable operas (all produced before the First World War) and then nothing notable during forty years of repetitious senility. Even Ariadne auf Naxos, today one of the most popular works in the…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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