At one point I spent a couple of months on the dole and dollar record shopping had a number of obvious virtues as a pastime.
Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America provides ample fodder for the legions of amateur opera sleuths seeking to confirm their theory of “Who Killed City Opera?”
Well, that didn’t last long.
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.
What we go to Grattacielo for is fresh young voices singing their guts out.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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