We constantly wonder whether the young man will embrace him—or slit his throat.
Du Yun is the Pulitzer Prize-winning composer of Angel’s Bone. Her new opera, In Our Daughter’s Eyes, a one-act monodrama for bass-baritone and an orchestra of six, opened the current tenth Prototype Festival, in a performance at the Baruch Performing Arts Center, starring erstwhile Met regular Nathan Gunn.
Plink. A marble drops into a bowl. A brief yelp from glass, and a dozen, a hundred, a thousand years pass. Eventually the bowl is full of marbles, each one a tiny globe.
For a number of reasons including a surge in COVID cases, PROTOTYPE Festival has canceled its Winter 2022 season.
A nonstop flow of COVID related announcements from New York City performing arts organizations has swept the city the past weeks.
The performance of an opera, indeed, seems almost a third narrative, atop the dreamer under the scientific microscope and the larva turning into a butterfly, and the mingling is not always clear—but then, clarity never seems to be the intention.
Like everyone reading this, I imagine, I’ve missed going to see and hear something in person more than I thought possible.
The immediate and personal catastrophe interleaves with the general and universal and ancient.
Despite the ongoing pandemic and the political upheaval, the Prototype Festival is back, and it is bigger and more accessible than ever before.
The Murder of Halit Yozgat by Ben Frost and Petter Ekmann is flavorsome in its use of sound, vocal and otherwise, to explore the elements of the story, to keep you tied in, and guessing.
We live in a time of open-season for jokes on ancient myths, mixing and matching, sometimes with great success, as The Book of Mormon and Hadestown demonstrate.
Ultimately, the unrelenting grimness of the subject matter allied to the sameness of the vocal writing made for a wearying evening.
Cion: Requiem of Ravel’s Bolero is a dance-music-theater piece that Prototype Festival presented at the Joyce Theater through Saturday night.
The opera’s radical vision lay in its enormous scale, which encompassed a hundred-strong community chorus taken from the ranks of the Brooklyn Youth Chorus and Master Voices.
I’m only now coming up for air after a night spent wading in the deep, cool, refractory waters of Magdalene, a work of immense, mythic joy and pain wrapped in the details of the ordinary.
Composer Garrett Fisher and librettist Ellen McLaughlin’s Blood Moon wears its themes on its sleeve to great success in this spellbinding new opera.
Cellist Leah Coloff’s one-woman cabaret act ThisTree finds its place among a lineup of Prototype Festival miniatures this week that seem to plumb the depths of womanly distress.
While 4.48 Psychosis is an intricately-crafted, deeply moving portrait of human agony, Pancho Villa from a Safe Distance lacks the creative clout to realize its artistic ambitions.
Though barely a week old, 2019 has already provided New Yorkers with an essential, breathtaking music drama focusing on two women struggling for their very survival.
There is some difficulty in describing just what IYOV the musical occasion is—and I’ll take refuge in calling it a musical work in the current PROTOTYPE Festival.
Composer Gregory Spears is a unique example of this maxim that one must be “deeply rooted in tradition in order to innovate with integrity.”
The aesthetic vision of M. Lamar’s Funeral Doom Spiritual was undeniable.
Prototype: Opera/Theatre/Now presented new works in which women were variously gang-raped, eviscerated and executed by firing squad.
anatomy theater, receiving its New York premiere Saturday night at this year’s Prototype Festival, is a conceptual exercise in which nothing, absolutely nothing is left to the imagination.