Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
Lisette Oropesa, a product of the Metropolitan Opera Lindemann Young Artist Program, has not been seen much on the stage of the Met in recent seasons.
On this day in 1978, the Metropolitan Opera presented a new production of Donizetti’s La favorita.
The pandemic had different effects on different people.
Both the mise-en-scène and the musical direction amplified the absolute worst tendencies of the Opéra Comique’s Lakmé in the most tasteless and baffling ways.
The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.
I never fathomed I’d be writing words as these this soon.
We can delight in films that make use of motif to give opera-lovers an extra little jiggle.
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.
Lakmé, stars Ruth Welting, Alfredo Kraus, and Paul Plishka, conducted by Nicola Rescigno.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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