The Bronx Opera‘s Ariadnes auf Naxos is well worth the subway ride. Plus, two strong premieres at the Brooklyn Art Song Society.
Kurt Weill, Ira Gershwin, and Moss Hart’s 1941 musical Lady in the Dark is a psychoanalytical romantic comedy. It simultaneously mocks and takes seriously the power of looking inward to understand oneself, a process which can be silly, frustrating and life-changing in turn.
Un ballo in maschera—but instead of a tragedy, an opera buffa—and in Danish?
Nathan Hull was an operatic Quixote who did not go it alone, but inspired bands of optimists, giving proper employment to the many worthy New Yorkers mad enough to study voice and pleasure rare elsewhere to those of us thrilled to take it in.
Heartbeat Opera has set Der Freischütz in a contemporary era, in a rural locale where gun culture reigns supreme and bullying is natural.
Can a work with indisputably great music fail to add up to a successful opera? I puzzled over that Sunday during Teatro Nuovo’s essential concert staging of Rossini’s La Gazza Ladra at SUNY Purchase.
“Trove Thursday ” presents Heinrich Marschner’s Hans Heiling in a 2001 performance from Berlin featuring Alessandra Marc as the title character’s mom, the Queen of the Elves.
You may remember, gentle readers, that last year about this time Peter Gelb decided to enter into an unholy alliance with Target to benefit their mountainous number of opera loving customers by pre-releasing two Met performances exclusively in their fine emporiums.
The Poisoned Kiss derives its plot from the legend of the girl raised on poison so that her very kiss will kill.
La Cieca received this letter yesterday. If you have reviews, opinion pieces, appreciations, or (as in this case) a Letter to the Doyenne, please email to [email protected]. Saving New York City Opera?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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