8 pieces since 2011 — at 4 companies, most often at Amore Opera.
Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
Britten’s penultimate opera, the anti-war ghost story Owen Wingrave, was composed for television performance in 1971.
A return to Amore Opera’s production of Meyerbeer’s Dinorah to hear the second cast underlined two conclusions.
In the same season that Manhattan School of Music revived The Gypsy Baron, Riverside Theater around the corner is the site of Amore Opera’s “Season of Gypsy Operas.”
Opera composers do not often change their spots.
The Little Opera Theater of New York (LOTNY) is presenting a double-cast run of two of Floyd’s early one-acts, Slow Dusk and Markheim.
Gustav Holst was always searching for deep theses from which to suspend his art.
Not everything a genius creates is … a work of genius. Y’know? Mozart, for example: Sure, he was a prodigy at four, and at ten, and even at fourteen, but did he actually compose anything spectacular before he turned, say, seventeen? I’m thinking of “Exultate, Jubilate,” if you want to know.
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
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