The (R)evolution of Steve Jobs at the Kennedy Center: not a poorly made opera, but so relentlessly mid.
Austin Opera’s 2024 production of The Manchurian Candidate proved to be a daring and timely commentary on political power in America, shortly after the 2024 election, just as it had been before the 2016 election.
Émigré, unfortunately, fails to do justice, either musically or theatrically, to this group of refugees or to the Shanghainese who took them in.
Edward Hopper’s paintings from the 1930s and 1940s are simply lousy with windows.
Bay Area composer Mason Bates’s and librettist Mark Campbell’s contemporary opera about the life of the tech mogul Steve Jobs came home “to the place where it all began” in spectacular fashion
Despite the ongoing pandemic and the political upheaval, the Prototype Festival is back, and it is bigger and more accessible than ever before.
Stonewall threads some difficult needles with great success overall in this last installment of New York City Opera’s Pride Month Programming.
Two atmospheric but bleak works provide a musical illustration of the notion that misery loves company.
Give the creators credit for producing an emotional response.
I really cannot exaggerate the extent to which I truly did not know what was going on in New York City Opera’s production of Maria de Buenos Aires.
Seven characters step forward and sing a rousing opening number, “The Party Goes On,” accompanied by images of job lines, Hoovervilles, and soup kitchens.
The Manchurian Candidate is indeed operatic: outsized characters, a doomed love story and a narrative fraught with suspense.
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