New York City Opera today offered a demi-announcement of half their next season. Read more »
This float (artist’s conception) will perhaps anchor New York City Opera’s presence in tomorrow’s Pride parade. Says the company’s rep, “City Opera invites you, our fans, to march with the artists who create the operas you love. Join us on June 25th, at 12:00 pm and show your pride for love, equality, and opera.”
Director Ivo van Hove, in collaboration with Flemish opera company Muziektheater Transparant, brings his trademark physicality and stripped-down aesthetic to bear on Leoš Janáček‘s “pathbreaking, emotionally raw song cycle” (The New York Times) Diary of One Who Disappeared. Featuring bravura performances by tenor Andrew Dickinson and mezzo-soprano Marie Hamard and additional music by composer Annelies Van Parys, BAM presents the US Premiere of this contemporary update April 4—6 at the BAM Howard Gilman Opera House.
In 1917, Czech composer Janáček became obsessed with a married woman 40 years his junior. In the throes of despair, he penned more than 700 love letters and a haunting 22-part song cycle, about a village boy who falls in love with a Romany girl. Van Hove’s contemporary reimagining of Janáček’s Diary of One Who Disappeared paints a deeply affecting portrait of identity, infatuation, and ultimately, alienation. Read more »
It’s easy to see why Leonard Bernstein’s Candide was a flop when it premiered on Broadway. A quick look through Voltaire’s source material reveals a plot full of obscenity and atrocity: floggings, hangings, disembowelment, rape, dismemberment, impalement, bestiality, cannibalism, heresy, and sex trafficking. Such a catalogue of depravity suggests an adaptation of Pasolini rather than a Broadway musical. Read more »
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.
Cher Public