Jeanine Tesori’s Blue is an ambitious and worthy opera that deserves a better presentation than it got at Lincoln Center on Saturday.
The Glimmerglass Festival premiered a searing examination of race, identity, and the fraught relationship between communities of color and law enforcement. Blue, with a score by Jeanine Tesori and libretto by Tazewell Thompson.
The late-mid 1730s were transitional years for Handel, to put it nicely.
Kurt Weill and Maxwell Anderson’s 1949 musicalization of Alan Paton’s Cry, the Beloved Country has found a tentative home on the opera stage.
Since its founding 20 years ago, Washington, DC-based Opera Lafayette has devoted its considerable imagination and energy to reviving lesser-known 17th and 18th century French operas.
Saturday’s Washington National Opera premiere of a new version of Philip Glass and Christopher Hampton’s Appomattox had everything going for it but the opera.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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