Vanessa is spare and compelling in Heartbeat Opera’s production.
R.B. Schlather‘s shadowy production with Heartbeat Opera at the Williamstown Theatre Festival proves that Vanessa might be coming into its own at last
With tight, jazzy orchestrations, a queer-coded Mephistopheles, and sassy modern recitative, Heartbeat Opera’s fast 100-minute Faust delivers Gounod in miniature, minus some of the schmaltz.
Only disordered and volcanic intellects need apply for this beautifully deranged production of Salome from Heartbeat Opera
Double double, toil and trouble, y’all, and happy spooky season from Slaylem. (It’s like Salem, but fun.)
Heartbeat Opera’s The Extinctionist — composed by Dan Schlosberg with a libretto by Amanda Quaid — is the first opera, as far as I know, to stage a pap smear.
If it didn’t all work, it wouldn’t work at all.
Heartbeat Opera knows how to party.
Part vaudeville, part opera concert and part drag ball, Heartbeat Opera’s pageant was like a cup of eggnog spiked with a dash of LSD.
Lady M, an Online Fantasia on Verdi’s Macbeth, Heartbeat Opera’s creative and thought-provoking foray into the Zoom opera scene, left me feeling alternately pensive, hopeful and somewhat uneasy, in a good way.
Heartbeat Opera has set Der Freischütz in a contemporary era, in a rural locale where gun culture reigns supreme and bullying is natural.
The story shows what may happen when corrupt individuals occupy positions of trust.
Heartbeat is, after all, a company that loves to tinker.
Cio-Cio and Carmen: what do you do with two tragic heroines who typify not just the sexist clichés, but also the soupy exotic fixations, of the Old-World West?
An astute double-feature exposes all the complexities of female suffering embedded within two canonical works.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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