What better way to mark the passing of the monumental Hal Prince?
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New York City Opera today offered a demi-announcement of half their next season.
“City Opera invites you, our fans, to march with the artists who create the operas you love.”
It’s easy to see why Leonard Bernstein’s Candide was a flop when it premiered on Broadway.
You may wonder what Rachmaninoff’s Aleko and Leoncavallo’s Pagliacci have in common.
“Hopper’s Wife turned out to be the most unpleasant piece as I’ve heard since NYCO’s notorious fiasco The Dreyfus Affair, two decades ago.”
New York City Opera Renaissance certainly seems to have its eyes on the future.
The New York City Opera Board has signed an agreement to transfer its name and intellectual property to NYCO Renaissance, Ltd.
With almost three weeks to go, New York City Opera’s Kickstarter campaign is only $956,985 short of its goal.
One startling upset catches the eye among the many winners (if that is the word) of the 2013 Parterre Box Awards.
It only just occurred to La Cieca that the opening night of New York City Opera’s 2013 season—the premiere of their new production of Powder Her Face—is February 15, a date that sounds oddly familiar somehow.
La Cieca is sure it’s nothing, nothing at all, but she does think it’s curious that (per a tipster) George Steel has quietly called a staff meeting for NYCO tomorrow…
George Steel announces that New York City Opera is destroying, giving away or selling off most of its stock of repertory productions.
For decades New York City Opera was a model of an organization with a clear mission.
The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops.
“About the only good thing that can be said for New York City Opera’s Orpheus, which opened Saturday night, is that it made the rest of the company’s feeble season seem scintillating by comparison.”
Now New York City Opera has given us a “Così Fan Tutte” starring the undead.
“New York City Opera performed La Traviata at BAM Sunday afternoon. That’s who, what, where and when. But this was a performance without a ‘why’.”
La Cieca hears that the New York City Opera is moving its administrative offices to 75 Broad Street, a location you surely remember as The International Telephone and Telegraph Building. The a 1928 structure boasts the mosaic dome glimpsed above, and (coincidentally) sits just across the street from the old Goldman Sachs building.
Local 802 and AGMA have rejected New York City Opera’s “final offer,” placing the company at an “impasse,” according to an email from George Steel to members of the company’s board.
“City Opera Management has passed on an offer from the unions representing its musicians and singers that could have saved the company some much-needed cash. The proposal would have required members of the New York City opera to perform for free in the 2011-2012 season.” [NY1]
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