An impressive cast blurs binaries as John Adams‘s ambitious Antony and Cleopatra arrives at the Met
Missy Mazzoli has established herself as one of contemporary opera’s most skilled and subtle architects of emotional response, and her latest, The Listeners—now at the Lyric Opera of Chicago—is no exception.
Two opera houses, both alike in dignity (but less so in resources and international fame) launched their seasons this week, making similar out-of-the-box choices: new works on edgy, contemporary themes.
Only connect! So sayeth E.M. Forster (via Margaret Wilcox) in Howard’s End.
A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore. Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.
“We came through the Depression by the skin of our teeth! One more tight squeeze like that and where will we be?”
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.