One day after the announcement that General Director Michael Capasso is retiring, New York City Opera announces the “installation” of Music Director and Principal Conductor Constantine Orbelian as Executive Director.
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Michael Capasso, General Director of the enfeebled remains of New York City Opera, announces his retirement
When the subject of New York City Opera comes up, you always hear the same query: “What happened to City Opera? Are they even performing these days??”
It’s 1938. We know, even if the characters do not, how the story will end.
New York City Opera (remember them?) have announced a program for spring 2021, with repertoire consistent with the company’s recent policy of equal-opportunity pandering.
It is with a heavy heart that La Cieca predicts the demise of New York City Opera.
La Cieca has only just noticed that the time for the announced first presentation of the New York City’s Opera’s 2019-2020 season has come and gone.
Stonewall threads some difficult needles with great success overall in this last installment of New York City Opera’s Pride Month Programming.
Anna Caterina Antonacci headlines the New York City Opera’s 2019-2020 season with a one night only concert performance of Britten’s Gloriana.
New York City Opera has announced the resignation of the chairman of its board, Roy G. Niederhoffer.
“New York City Opera will present, in a rare New York appearance, beloved soprano Aprile Millo in concert.”
I really cannot exaggerate the extent to which I truly did not know what was going on in New York City Opera’s production of Maria de Buenos Aires.
Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America provides ample fodder for the legions of amateur opera sleuths seeking to confirm their theory of “Who Killed City Opera?”
New York City Opera has announced a search for “a transgender singer with a treble voice” to create the role of a transgender character in the opera Stonewall.
New York City Opera apparently plans to fund its commission of the opera Stonewall via Patreon.
The third segment of New York City Opera’s gradually emerging 2018-2019 season will be Mascagni’s Isabeau.
Between staging, music, and material, it’s hard to decide what feels most broken about New York City Opera’s American premiere of Brokeback Mountain.
As far as prewar Italian verismo goes, L’amore dei tre re is a supernova.
Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.
Mariachi bands travel the world, make appearances in Hollywood, and moonlight on Linda Ronstadt albums.
In November, everyone wanted to hear more about Jonas Kaufmann‘s Johnson.
In the seventies and eighties Dominick Argento (who turned ninety this year) was one of the most oft-performed of American opera composers.
Flashes of excitement and genuine pathos lit up City Opera’s production of Dolores Claiborne!
Is this not Puccini’s greatest opera, his most human, least manipulative?
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