American opera and its institutions are experiencing an identity crisis. Nowhere is this clearer than in Tazewell Thompson and Jeanine Tesori’s Blue.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
I had some trepidation about attending Terence Blanchard’s opera Champion because the “sport” of boxing has never appealed to me.
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
Two hours of bedazzlement await you.
New York City Opera Education and the Schomberg Center for Research in Black Culture presented an evening of discussion, poetry and music from Scott Joplin’s opera, Treemonisha last night to an overflow crowd.
In 1890 Cavalleria rusticana had taken the whole world by storm and in the next decade or so, hordes of composers, willing or unwillingly, jumped on the Verismo bandwagon. La navarraise (1894) is generally considered Jules Massenet’s homage to the genre, and for a long time the two works were often performed together. Emma Calvé,…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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