If you’ve ever wondered what the Lost Boys’ abode might look like lined with mermaids, shopping carts, and unpeeled potatoes, look no further than Christopher Alden’s new production of Peter Pan.
Wednesday brought Christopher Alden’s grimly dark and violent take on Handel’s Aci, Galatea e Polifemo at National Sawdust.
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.
“Ogni Cura si doni al diletto / E s’accorra nel magico petto,” the joke went back in the late ’90s. What wags we were!
“Director Christopher Alden destroys everything Strauss’s operetta stands for”
To close its season this week, New York City Opera is unleashing hurricane-force gales of laughter.
Russian children’s ombudsman Pavel Astakhov called upon the newly appointed culture minister to check a Russian-British opera production for sex and drug scenes.
Now New York City Opera has given us a “Così Fan Tutte” starring the undead.
The ENO was filled with ghosts last week. Spectral, possibly illusory figures fleetingly materialized in the Internet chatrooms that provide the setting for much of Nico Muhly’s new opera Two Boys, and brutal boarding school memories came back to troubled life in director Christopher Alden’s dark take on Benjamin Britten’s A Midsummer Night’s Dream.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
