The Met brought back 2019 smash Akhnaten last night, with nearly the exact same cast and creative team, and with nearly the same knockout effect of three years ago.
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The cabaret at Saint Ann’s Warehouse delivered frothy fun and a dollop of pathos with Anthony Roth Costanzo and Justin Vivian Bond in Only an Octave Apart.
The Santa Fe Opera’s 17th world premiere is The Lord of Cries by composer John Corigliano and librettist Mark Adamo.
It’s that time of year again, cher public: the 47th 15th annual announcement of the recipients of the F. Paul Driscoll Awards for Outstanding Achievement in the Field of Excellence!
Friday evening’s Met premiere of Akhnaten was a resounding triumph and an outstanding testament to Philip Glass’s enduring operatic vision.
“Asked to Perform Naked, This Is How One Star Got in Shape—Fast”
“For five years, concert pianist Theo Mangrove has been living at his family’s home in East Kill, New York, recovering from a nervous breakdown that derailed his career.”
“The opera The Lord of Cries. . . . with the equally astounding Anthony Roth Costanzo.”
Ardent, astonishing, animated Anthony Roth Costanzo has just unveiled the music video for “Vivi, tiranno.”
Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.
While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.
Wednesday brought Christopher Alden’s grimly dark and violent take on Handel’s Aci, Galatea e Polifemo at National Sawdust.
Highlights of the Metropolitan Opera’s 2019-2020 season, according the always intriguing Met Future Wiki.
Akhnaten, seen at the Los Angeles Opera on November 13 tells the story of the Pharaoh who abandoned traditional Egyptian polytheism.
Philip Glass is indisputably one of the most prolific composers of the last half century, yet none of his more than 20 operas has found a place in the standard repertoire.
What is an Orphic moment? A song so sweet that even Hades must release the dead back to the living?
St. Paul’s Chapel is the perfect site for Saul, Handel’s finest dramatic oratorio.
Christopher Alden‘s production of Handel’s Partenope is so erudite and theatrically audacious and also such a rollicking ride, it’s hard to believe it isn’t crap.
Saturday afternoon at 12:30 on WQXR’s magazine show Operavore, our own JJ talks about Mathilde Marchesi and Antony Roth Costanzo discusses his Orlofsky role in the Met’s Fledermaus.
Those dear, dear people over The Greene Space at WQXR would like you, cher public, to join them this Friday for a concert saluting this year’s winner of the Richard Tucker Award, mezzo-soprano Isabel Leonard.
La Cieca predicts you won’t be seeing any puritans at the Met next season, except of course for the ones who slouch around during intermission hissing, “You call that a trill?”
“F. Paul Driscoll, editor of Opera News [not pictured], is optimistic.”
Join Parterre Box for a celebration of James’s life and legacy the afternoon of February 3, 2024 in New York City.