What better way to mark the passing of the monumental Hal Prince than with a recollection of that nexus at which his and Leonard Bernstein‘s worst work intersected? Read more »
Mezzo Blythe Gaissert, Hannah after in NYCO’s As One.
I wanted to like As One. I really did. This chamber opera, with only one character, two singers, and a string quartet who occasionally serve as a chorus, promises an uplifting, occasionally humorous story of a transgender woman’s journey through dysphoria and isolation to self-acceptance and freedom. While I certainly went on a journey, ultimately, I come with more problems than praise for NYC Opera’s latest installment in its Pride Month programming. Read more »
New York City Opera today offered a demi-announcement of half their next season. Read more »
Grand Prix winner of the International Tchaikovsky Competition, soprano Hibla Gerzmava returns to Carnegie Hall, with pianist Ekaterina Ganelina, for a recital in Stern Auditorium/Perlman Stage on Friday, November 1, 2019, at 8:00 pm. Her program will feature art songs by such Russian masters as Glinka, Rimsky-Korsakov and Prokofiev coupled with those by Hahn and Fauré set against a backdrop of arias by Verdi and Donizetti.
“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.
Cher Public