Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
It’s always surprised me how so many performances of the major Brecht/Weill collaborations seem to have zero clue of how to handle either Weill’s music.
It is a physical pleasure to hear Kate Lindsey at close quarters.
There are two problems to address – problems of the sort the arts thrive on addressing.
I have a confession and you may need to sit down for it: Andrew Lloyd Webber’s Evita was one of the gateway drugs to my eventual opera fandom.
Life was a Cabaret, you chumps!
Julia Bullock seems to fission herself multiple times over during the course of her newest, widely ranging recital program.
With unrest and looting nearby as France learned collectively that minority lives should matter, Marseille-adjacent Aix-en-Provence could be forgiven for the heavy-handedness of launching its 75th anniversary summer Festival with a new French translation of the ultimate carnival of social tension, The Threepenny Opera.
Nina Stemme’s program guided her audience through a period of musical history that explores themes of love and mortality with texts that traverse emotional extremes.
On Saturday at Alice Tully Hall, Julliard 415, the school’s top-flight period-instrument ensemble, was joined by students from the Marcus Institute for Vocal Arts and Juilliard Drama for a rare semi-staging of King Arthur.
Kurt Weill, Ira Gershwin, and Moss Hart’s 1941 musical Lady in the Dark is a psychoanalytical romantic comedy. It simultaneously mocks and takes seriously the power of looking inward to understand oneself, a process which can be silly, frustrating and life-changing in turn.
“Once upon a time / Lived a foolish king. / Mocking Death, his crime, / Pure chaos he bring.”
The New York Gilbert And Sullivan Players is giving its umpteenth production of The Mikado through next Sunday at the Kaye Playhouse, and the show remains frisky and first rate.
Promenade is a powder keg but the powder may not be as explosive as it hints.
David Lang’s Prisoner of the State, which was premiered on Thursday night by the New York Philharmonic, places the issue of mass incarceration front and center, foregrounding the violence of the prison system, both physical and psychological.
In the most hectic and sometimes marvelous year of theater I’ve had in memory, Lady in the Dark at MasterVoices this weekend thrilled me most.
We owe director John Doyle and Classic Stage Company a debt of gratitude for bringing Blitzstein’s The Cradle Will Rock—warts and all—to the stage.
Helga Dernesch is the singer whom I largely credit for rekindling my love for opera.
Opera Philadelphia’s O18 Festival continues through the weekend, but Friday represented a finale of sorts with the last two premieres.
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.
Which diva gets to sing “I hope you die! I hope you die soon! I’ll be waiting for you to die!”
Kurt Weill and Maxwell Anderson’s 1949 musicalization of Alan Paton’s Cry, the Beloved Country has found a tentative home on the opera stage.
The name Joseph Rumshinsky might ring a bell (or a shofar).
I can’t think of another 20th century opera which has grown so fast in popularity so long after its composition than Lady Macbeth of Mtsensk.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.