Opera Philadelphia’s Il viaggio a Reims in a nutshell: Hyperactive, confusing, and distracting from (and sometimes for) the singers? Yes. Imaginative, wildly entertaining, and musically rewarding? Absolutely.
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.
The Cunning Little Vixen, Leos Janacek’s late-career opera—a wonderous work with an almost miraculous sense of charm and poignance—has found significant success in conservatories.
A particularly heartbreaking aspect of the pandemic shutdown has, of course, been helplessly watching rising artists have their careers plunged into indefinite silence. But for a few bold souls who are willing to try new things, the moment has also opened doors.
Two atmospheric but bleak works provide a musical illustration of the notion that misery loves company.
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
Curtis Opera ventured Sweeney Todd.
Although Leonard Bernstein’s Trouble in Tahiti is always categorized as an opera, the piece certainly has one foot planted firmly in his jazzy musical-theater style.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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