The inaugural New Orleans Opera Festival goes big across the Big Easy.
The timing for Boston Lyric Opera’s production of Macbeth this weekend was perfect for Halloween, though the show itself at the Emerson Colonial Theatre was decidedly less spooky.
American opera and its institutions are experiencing an identity crisis. Nowhere is this clearer than in Tazewell Thompson and Jeanine Tesori’s Blue.
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”
Unfortunately, LOC’s Proximity works only fitfully.
Baritone Will Liverman is becoming a real Renaissance man.
With composer Terence Blanchard and librettist Kasi Lemmons‘ incendiary Fire Shut Up in My Bones, the Met makes long overdue history and Will Liverman ascends to superstardom.
Like many composers of his generation, Ernest Chausson was enthralled by Wagner and he too turned to legend for his only opera, one that would consume him for final decade of his brief life.
As long as women have been preyed upon, Don Giovanni has been relevant.
Looking at the Houston Grand Opera’s 2018/19 season, I think Hurricane Harvey subconsciously must have had an impact on the choice of operas.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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