An air of discovery pervaded the first New York presentation of La ville morte much the way that it pervades the opera’s plot itself.
Puccini’s schmaltziest, most melodic, most dramatically limp, most cynical, most obscure mature work
It’s debated whether Lili Boulanger’s Faust et Hélène, clocking in at only about 30 minutes, can be considered a cantata, a one-act opera, or a “lyric episode.”
Bard SummerScape’s concert staging of Die Tote Stadt emerged triumphant thanks to Clay Hilley and Sara Jakubiak.
Dell’ Arte Opera Ensemble theme this summer is women composers, which is timely, and the more to be applauded as likely to turn up unusual works.
Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.
I had a panic attack, that’s how moved you made me.
Can a surfeit of pleasure become—in the end—unsatisfying?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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