Strike Up the Band! cried the brothers Gershwin (and book-writers George S. Kaufman and Morrie Ryskind) in the first of their three satirical, vaguely political operettas—sort of jazz Gilbert & Sullivan—that they dreamed up in the late 1920s.
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.
Why did Ted Sperling and MasterVoices choose to perform an old warhorse like Carmen which has been produced almost continuously over decades just up the street at Lincoln Center?
Despite a star-studded cast, last night’s Anyone Can Whistle at Carnegie Hall ultimately failed to take flight.
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
Conceived by Adam Guettel as a song cycle that explores human relationships to the gods across the span of history into today, Myths and Hymns has been seen and heard in concert and staged settings, and some of the individual songs are often performed in cabaret.
In the most hectic and sometimes marvelous year of theater I’ve had in memory, Lady in the Dark at MasterVoices this weekend thrilled me most.
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.
Babes in Toyland will feature Kelli O’Hara, Bill Irwin, Lauren Worsham, Christopher Fitzgerald, Drew Barrymore, Keanu Reeves, Noriyuki ‘Pat’ Morita.…
A semi-staging of Dido and Aeneas starring Broadway divas and frequent collaborators Kelli O’Hara and Victoria Clark seemed a screwy idea at best.
