Director R.B. Schlather deftly walks a porous boundary, casting this primordial paroxysm of Germanness as a dialogue between its naïve and moralistic narrative with its outsized legacy.
The Bard Conservatory Orchestra joins an exciting principal cast of singers in a semi-staged performance of Richard Strauss’s once infamous, now famous opera, directed by R. B. Schlather.
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
Composer/librettist David Hertzberg’s The Rose Elf, which gave its world premiere in the Green-Wood Cemetery Catacombs last weekend, is indeed a marvel of elfin proportions.
A dozen women or more talk and sing about all sort of important and exciting things, with “a man” near the bottom of their list of priorities.
It was a timeout—but maybe it was a timeout we deserved.
Curtis Opera Theater mounted a musically remarkable account of John Adams’ Doctor Atomic on March 2.
“And what, after all, is this ‘love’ everyone keeps singing about and dying for?”
Director R.B. Schlather and his team explored Handel’s Orlando and the results, as seen at Monday night’s final presentation, proved uncommonly stimulating.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
