Cher Public

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

As critics attending a high-profile Angels in America reboot in London continue to mull over the zeitgeisty play’s contemporary relevance—and to pun the celestial daylights out of words like “heaven,” “winged,” and “seraph”—audiences across the Atlantic find themselves wrestling with a different kind of shapeshifter: that same sprawling “operatic” masterpiece, now reimagined as an actual, full-blown opera.  Read more »

Minnie series

New York City Opera’s 2017-2018 season promises productions of Puccini’s La Fanciulla del West, Tobias Picker’s Dolores Claiborne, José “Pepe” Martinez’s mariachi opera Cruzar la Cara de la Luna, Montemezzi’s L’Amore dei Tre Re, a double-bill of Donizetti’s Il Pigmalione with Rameau’s Pigmalion and, finally, the U.S. premiere of Charles Wuorinen’s Brokeback Mountain.  The complete press release follows the jump.  Read more »

Elements of style

Antonio Literes, a boy soprano from Majorca, had, we may presume, friends in high places. He was summoned to the royal chapel of Carlos II in Madrid and there learned enough about music, after his voice changed, to enjoy a career as a composer of “zarzuelas” until his death in 1747. An Accis y Galatea is listed in Loewenthal as premiering at the Buen Retiro palace in 1708, traveling on to Lisbon three years later.  Read more »

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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There’s an old girl in town

The production will also mark a notable New York City Opera debut with the role of the Old Lady played by Linda Lavin.

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Same old, same old

“Just as every downtown shopping street in every major American city now features the same familiar retailers’ names, New York City Opera has no particular artistic identity different from, say, Opera Carolina.”

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