Christopher Cerrone and Stephanie Fleischmann‘s opera at the Prototype Festival re-sets Rashomon in the Pacific Northwest and binds its characters into a hellish cycle of violence with a dark, hypnotic score
Lyric Opera of Chicago has opened its new season with a revival of its tried and true 2006 production of Verdi’s sixteenth opera, Rigoletto, one of his most tuneful and dramatic works (I attended the Sunday matinée performance).
Émigré, unfortunately, fails to do justice, either musically or theatrically, to this group of refugees or to the Shanghainese who took them in.
What’s the status of the American Dream nowadays? Did it ever really exist? If it’s dead, why isn’t it gone?
November in New York hosts two premieres dedicated to mythology’s greatest musician, which prompts Trove Thursday to present a vintage Monteverdi L’Orfeo with Judith Raskin and Gérard Souzay conducted by Leopold Stokowski (!) and a recent HIP London broadcast of Luigi Rossi’s L’Orfeo.
Two atmospheric but bleak works provide a musical illustration of the notion that misery loves company.
In Hatuey, composer Frank London and librettist Elise Thoron have created something that crosses boundaries from cabaret romance to flashback historical pageant to revolutionary thriller.
Whatever its flaws, La finta giardinera is indeed a wise rep choice for grad students eager to cut their teeth.
Bard College presented a semi-staged concert of Halka on Saturday evening as part of its impressively wide-ranging two-week “Chopin and his World” festival.
The Rape of Lucretia, now (through Sunday) enjoying a superb three-performance run at the Juilliard Opera’s Willson Theater (tickets are scarce; hie thee to the waiting list), was Benjamin Britten’s third opera and first “chamber opera,” composed for the tiny original theater at Glyndebourne,
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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