Music for New Bodies at Lincoln Center’s Running AMOC* Festival proves Matthew Aucoin really is everything he’s made out to be
Turmoil and injustice in the federal government; turmoil and grief in the Catholic Church: the time sure seems right for a staging of Francis Poulenc’s Dialogues des Carmélites.
It’s not so much that I hated the Met Opera’s Grounded. I’m just not convinced that it should have been an opera.
Opera has always been Orpheus-obsessed.
And is this ‘Orpheus’ in the room with us right now?
New York shall never be in need of another Messiah to assist to during the holiday season, but a new tradition is beginning to crystallize at the cavernous St. John the Divine to rival it.
Despite this being the first full-length opera for Gabriela Lena Frank, there’s no lack of experience across the creative team which, along with favorable reviews for the production, contributed to high levels of anticipation.
I hate to say I nearly cringe at the thought of Gioachino Rossini’s Il Barbiere di Siviglia.
To conclude its triumphant season, last week the Met Orchestra performed its annual Carnegie Hall concerts under music director Yannick Nézet-Séguin and once again performed superbly.
Since my previous CD round-up review the onslaught of solo recital disks of 18th century (and sometimes also 17th) vocal music has continued unabated.
No, we don’t really need another “Orpheus” opera. Or, rather, we don’t need this one.
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.
A special program note for Saturday night’s performance of Matthew Aucoin’s new opera Eurydice pointed to a rare convergence of three MacArthur Grant fellows in its creation and staging.
I have a confession to make. I have been taking Rigoletto for granted.
While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.
Matthew Aucoin’s Crossing depicts Walt Whitman’s experience serving wounded soldiers in a DC infirmary and chronicles the period’s tragic effects.
Akhnaten, seen at the Los Angeles Opera on November 13 tells the story of the Pharaoh who abandoned traditional Egyptian polytheism.
What is an Orphic moment? A song so sweet that even Hades must release the dead back to the living?
Tenor Paul Appleby’s onstage persona is as American as apple crisp, and he possesses the untroubled confidence of a politician.
An opera revolving around chastity vows, adultery, slut-shaming, lesbianism, transvestism and much more!
Jarrett Ott is a star. That is the only surprise takeaway from the well-intended snore, Cold Mountain.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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