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.
Dell’ Arte Opera Ensemble’s “Scenes from the Tower” evening is devoted to three operas composed by women, and the metaphorical tower is women’s sequestration from the opera stage.
Utopia Opera is fond of the less well known branches of the Savoy repertory (as the company name suggests), and is currently (through next weekend) doing a job on an early and rare bird of the flock, The Sorcerer.
When Arthur Sullivan (not yet Sir Arthur) composed his “dramatic oratorio” The Martyr of Antioch in 1880, he had just completed The Pirates of Penzance.
Flotow’s Martha, a work of 1847 that was popular around the world for a hundred years.
Douglas Moore’s score for The Ballad of Baby Doe has everything that could please and little that could offend.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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