Cher Public

Miracle on 28th street

Immersive theater can be vexing—take it from a critic who’s slogged through productions set on sinking long-tail boats and in allergenic warehouses—but this year’s been a grand one for location-specific opera. Read more »

Morning glory

Immersive theater doesn’t do opera singers many favors. Like a photonegative of theatre in the round, it forces performers into an up-close-and-personal relationship with their audience and breaks down the fourth wall, lending most spectators an HD view of everyone’s tonsils. Singing technique, usually kept at a safe distance onstage, is here made loudly, oppressively available.  Read more »

Guilt, edged

If aging French modernist composer Darius Milhaud took a risk in adapting La Mère Coupable as an opera, it wasn’t the quirky, atonal style he used for his score.  Read more »

There wouldn’t be chandeliers bright enough!

“I thought you did it for me, Mama.” “I thought you did it for me, Mama…” I thought you made a no-talent ox into a star because you like doing things the hard way, Mama. And you haven’t got any talent! Not what I call talent, Mister Wolfgang Amadeus Mozart! I made you! And you wanna know why? You wanna know what I did it for?! Because I was born too soon and started too late, that’s why! [On Site Opera]

Heart in darkness

>The Crypt Sessions, in collaboration with On Site Opera, presented the world premiere of Gregg Kallor’s The Tell-Tale Heart

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Home brew

An extraordinarily rich variety of opera happens locally, under the umbrella of New York Opera Fest.

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Al fresco

Poor Paisiello. Out of the nearly 100 operas written by this industrious composer just one was generally regarded as a masterpiece.

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