Opera Lafayette and OperaCréole present Edmond Dédé‘s rediscovered opera in a live stream from the Dekelboum Concert Hall at the University of Maryland
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After a flurry of coverage over the past weeks, Opera Lafayette, in partnership with New Orleans’s OperaCréole, finally premiered Edmond Dédé’s Morgiane, ou Le Sultan d’Ispahan in DC last night.
An 1887 French grand opera by a Black American composer receives its world premiere with Opera Lafayette and OperaCréole next week and is raising questions about the potential of “restorative justice” in the operatic canon.
This month: French Baroque from Opera Lafayette, German Requiem at Carnegie Hall, family friendly Haydn from little opera theater of NY, and Wagner’s satin and perfume fetishes?
In French opera—until Pelleas et Mélisande anyway—there is always a great deal of dance; often, dance rather than song is the main event.
Not everyone is happy about the Beethoven sestercentennial.
The story shows what may happen when corrupt individuals occupy positions of trust.
Handel’s Radamisto returned to New York when Opera Lafayette movingly performed this early masterpiece.
Niccolò Jommelli, forgotten now, was quite well known in Italy and southern Germany in his day.
For all the company’s good intentions this opera-dance combo was not one of its happiest outings.
The concert presented by Opera Lafayette at the Alliance Française last Friday and Saturday was devoted to music of witty, short-lived Emmanuel Chabrier, notably Une Éducation Manquée.
Since its founding 20 years ago, Washington, DC-based Opera Lafayette has devoted its considerable imagination and energy to reviving lesser-known 17th and 18th century French operas.
While many performing arts organizations have been reducing their schedules or even closing, Opera Lafayette, a Washington DC-based group dedicated primarily to 17th and 18th century opera, has proven remarkably prosperous.
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Pick a little, talk a little
Following the successful launch of the new regular feature The Talk of the Town in January, the team at the box is inviting contributions for a new quarter of operatic potpourri.
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