With its sumptuous wood paneling, frescoed ceilings, and various Gilded Age trappings, the Park Avenue Armory’sBoard of Officers Room certainly is not a bad place to spend Valentine’s Day—even better when it plays host to equally sumptuous music-making.
By Emma Hoffman
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Emily D’Angelo, in a moment of subversion, sang the entire program wearing casual trousers, a vest, and chunky combat boots, her cropped hair slightly mussed, and wearing only light make-up.
This tenor must be the finest classical singer in the world today.
Having had many memorable encounters with these characters before, I had been looking forward to encountering them again in an ambitious contemporary Oresteia, but I left the Armory feeling that writer-director Robert Icke just didn’t get it.
Since April four wildly varied incarnations of Hamlet have been haunting New York City theaters; the most recent to arrive was Robert Icke’s chicly contemporary take on Shakespeare’s play which opened last week at the Park Avenue Armory.
Before Wednesday I don’t remember gasping when I entered a concert venue.
Michel van der Aa’s new opera UPLOAD at the Park Avenue Armory explores the various ethical issues surrounding AI while coming back to a set of classic philosophical questions about free will, pain and the nature of the soul.
At the Park Avenue Armory, Barbara Hannigan chose to sing works that tested her metal in odd corners of vocalism.
By John Yohalem
