Cher Public

They love a piano

Piano, pianissimo, pianississimo. In music, usually this means soft, softer, and even softer. This time, though, I mean it literally: the musical instrument—pianos, more pianos, even more pianos. Uprights of various vintages are moved around strategically in arresting configurations. This forest of pianos is the only furniture on the stage, aside from a bench or two.  Read more »

Cave dwellers

Elf Rose’s turn: mezzo Samantha Hankey

Composer/librettist David Hertzberg’s The Rose Elf, which gave its world premiere in the Green-Wood Cemetery Catacombs last weekend for a regrettably limited three-performance run, is indeed a marvel of elfin proportions.  Read more »

Change the world – I want to get off

Michaela Martens embodies the loneliness of the activist.

The art of opera mostly flunks the Bechdel test. Susanna and the Countess discuss the Count; Butterfly and Suzuki go on at length about Pinkerton; Isolde and Brangäne lack any topic but Tristan.  Read more »

But is it an artful paradox?

When I entered the small, unique performance space at National Sawdust, I found a bunch of people just sitting around. The chairs had been arranged in a haphazard way, instead of the linear and unilateral manner that one expects from a traditional auditorium.  Read more »

Manhattan melodrama

Curtis Opera Theater mounted a musically remarkable account of John AdamsDoctor Atomic on March 2.

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The name game

“And what, after all, is this ‘love’ everyone keeps singing about and dying for?”

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Notes from the underground

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.

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