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.
Washingtonians enjoyed a happy reunion this past Sunday with David Daniels.
WNO premiered Better Gods, an hour-long work by composer Luna Pearl Woolf and librettist Caitlin Vincent on Friday evening.
Washington National Opera presented the fourth annual installment of its “American Opera Initiative” series in the Kennedy Center Terrace Theater Wednesday evening.
Hopefully the assignment of Herman Melville’s endless whaling opus Moby-Dick as compulsory reading for High School students is a thing of the past.
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.
Lilith. Pandora. Circe. Salome. “La Belle Dame sans Merci.” Carmen. Brigid O’Shaughnessy: the eternal “femme fatale” still fascinates us.
Along with Don Giovanni, Carmen is an odd bird on the list of the most beloved and frequently performed works.
You might be surprised, though, when that title turns out to be Show Boat.
New York City isn’t a bad place to live, operatically-speaking.
I think we’re all aware by now of the wicked libel that the French dramatist Victor Hugo concocted about the fair Lucrezia Borgia with his depiction of her as a murderous virago.
A new spy debuts in La Cieca’s service, reporting from the first night of WNO’s Lucrezia Borgia: Overall, I thought the opera was worth the price of attendance. The costumes of the main characters looked like something from Star Trek. Renée Fleming‘s hair looked like Tina Turner circa 1984. Fleming was impressive, especially in many…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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