Dan Johnson gives an inside look at the creation of Sarah Kirkland Snider‘s rapturous new opera Hildegard which opens at New York’s PROTOTYPE Festival next week.
Barbara Strozzi links two sensuous programs by L’Arpeggiata and Catapult Opera.
The Jupiter Ensemble with Lea Desandre and Anthony Roth Costanzo offers sleek and sexy HIP inaugurates the Frick Collection’s new Stephen A. Schwartzman Auditorium
She can’t put her foot on the gas the way she used to but there’s still plenty of fuel in that tank.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
The film of The Hours failed to effectively weave together the novel’s trio of threads of interiority about suicide and secondarily literary creation. I wondered if an opera would stand a better chance at achieving that? Based on Tuesday’s diva-encrusted stage premiere of Kevin Puts and Greg Pierce’s The Hours, its creators didn’t pull it off either.
The Murder of Halit Yozgat by Ben Frost and Petter Ekmann is flavorsome in its use of sound, vocal and otherwise, to explore the elements of the story, to keep you tied in, and guessing.
Yet there remain some memories and impressions I know we’d both like to share—on a few stage performances, memorable in various ways, so how about one more roundup?
When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.
Though barely a week old, 2019 has already provided New Yorkers with an essential, breathtaking music drama focusing on two women struggling for their very survival.
The Met is on it with something something woker than woke: a noirish psychodrama of a frigid hysteric who seeks redemption via Freudian analysis!
“Trove Thursday” offers a broadcast from last year’s London world premiere of Nico Muhly’s Marnie.
Nico Muhly has set himself the task of presenting Winston Graham’s elusive heroine Marnie on the operatic stage.
Jarrett Ott is a star. That is the only surprise takeaway from the well-intended snore, Cold Mountain.
While the celebrity-studded, expensively-dressed audience gathered for the gala opening of the Metropolitan Opera’s 2015-2016 season seemed genuinely enthralled by Monday evening’s performance of Otello, it was more likely swept away by the power of Verdi’s genius than by Bartlett Sher’s puzzling, inert new production.
Composer Nico Muhly took a break between operatic world premieres to order a daiquiri and talk to our own JJ about height, haters and flight path. [Capital New York] (Photo: Peter Ross)
The ENO was filled with ghosts last week. Spectral, possibly illusory figures fleetingly materialized in the Internet chatrooms that provide the setting for much of Nico Muhly’s new opera Two Boys, and brutal boarding school memories came back to troubled life in director Christopher Alden’s dark take on Benjamin Britten’s A Midsummer Night’s Dream.
On Friday, April 16th, American Opera Projects and Opera on Tap presented a triple bill of new works at Galapagos Art Space in DUMBO, including what is essentially a pastiche, a collection of songs, and a one act opera. There were highs, there were lows; there was booze and opera in the same room. I…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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