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.
By Harry Rose
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Lawrence Brownlee “Rising” at Carnegie Hall
Tenor Lawrence Brownlee, “one of the most in-demand opera singers in the world today” (NPR), performs an anticipated program of newly commissioned works with texts drawn from great Black authors and poets of the Harlem Renaissance. Thursday, March 23 at Carnegie Hall. (Photo: Zakiyah Caldwell Burroughs)
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.
By La Cieca
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.
By David Fox
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.
By Joel Rozen
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.
By La Cieca
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?”
By James Jorden
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.
