People these days often exclaim “…..is everything!” but often it feels like gross hyperbole. But surely anyone who has seen Mark Morris’s L’Allegro, il Penseroso ed il Moderato since it premiered in 1989 would agree that it is indeed everything!
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The story shows what may happen when corrupt individuals occupy positions of trust.
By John Yohalem
The most disappointing performance in 30 otherwise glorious years of William Christie and Les Arts Florissants visiting New York City.
Mark Morris’ saucy, psychedelic The Hard Nut has returned to the Brooklyn Academy of Music yet again this week for its 27th Christmas since the ballet premiered in Brussels.
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At the opening of the Scottish Opera’s 2017 production of Turnage’s opera Greek, I was very sorry I’d missed Anna Nicole.
By John Yohalem
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This black-box recital was an aggressively Gallic affair
By Joel Rozen
I reckon marketing a sex-themed opera in Brooklyn should be like selling bacon-flavored froyo in Vermont.
By Joel Rozen
David Lang is, per The New Yorker, a “postminimalist enfant terrible.”
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Our Own JJ confesses he just doted on Heartbreak Express, but “You Us We All was not my cup of twee.”
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The advance publicity about Zhang Huan’s production of Handel’s luscious Semele currently having its US premiere at the Brooklyn Academy of Music prominently featured a provocative claim.
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By John Yohalem
Is there anything more essentially operatic than the suffering of women?
By Dan Johnson
“The queen of tabloid TV arrived at BAM Tuesday night in Anna Nicole, an opera brimming with wit and good taste. In other words, they got Anna Nicole all wrong.”
By La Cieca
La Cieca now would like to extend a special offer to performing arts organizations in the Greater New York are who would like to join the parterre.com family of advertisers.
By La Cieca
Of the two love stories that unfolded at David et Jonathas Wednesday night, it’s hard to say which was more moving.
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You have only until Sunday to catch the most heart-breaking moments seen on New York City operatic stages this season.
Since its life-changing Atys first arrived in 1989 at the Brooklyn Academy of Music (where the Lully returned one last time in 2011), Les Arts Florissants has presented works there which have challenged many perceptions about 17th and 18th century opera.
The Brooklyn Academy of Music kicks off its 2013 Next Wave Festival launches with BAM/New York City Opera co-production of Anna Nicole.
By La Cieca
“Is a work an opera simply because its creators choose to call it one?”
