Cher Public

Allowing the birds to nest in your hair

But what are we going to do with all this Chicken à la King?

You don’t hear his name very often nowadays, but in the seventies and eighties Dominick Argento (who turned ninety this year) was one of the most oft-performed of American opera composers. He represented a change from the excessively scholastic and atonal schools, the composers who had no idea how to write for the human voice or how to make vocal drama attractive.  Read more »

Murder, he composed

The higher the hair the closer to camp.

This past weekend, while Lincoln Center was spooking the royal tripas out some of us with a Franco-era dinner party that wouldn’t end, New York City Opera was bobbing for apples a mile away at 59E59, with a creepy shoulder-shrug of a production of its own.  Read more »

Not much gold, but plenty of rush

Sonora (Alexander Birch Elliott) flirts with Minnie (Kristin Sampson). Photo: Sarah Shatz.

New York City Opera’s 2017-18 season opened Wednesday night at the Rose Theater with a modest, earnest production of La Fanciulla del West which despite lacking some needed vocal glamour nevertheless proved mighty touchin’—to echo its bracingly colloquial if occasionally perversely obscure surtitles.  Read more »

And the ‘Angels’ sing

Angels in America reimagined as an actual, full-blown opera.

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Minnie series

New York City Opera’s 2017/2018 season will offer four new mainstage productions at Jazz at Lincoln Center’s Rose Theater,

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Elements of style

Antonio Literes, a boy soprano from Majorca, had, we may presume, friends in high places.

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Clash of symbols

La Campana Sommersa (The Sunken Bell), which is being presented by the New York City Opera at the Rose Theater through April 7, is a true oddball.

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To weep and remember

Last evening’s scorching performance of Fallujah by the New York City Opera demonstrated that sometimes impact is not limited by physical proximity.

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