Gregory Spears’ latest opera Castor and Patience, with a libretto by former US Poet Laureate and Pulitzer Prize-winner Tracy K. Smith, was commissioned by Cincinnati Opera to celebrate its centennial season in 2020.
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This Traviata remained firmly Beltway-bound and by the time I had gotten home, the 45-minute traffic jam to leave the parking lot was eminently fresher in my mind than the evening’s performance.
Only three years separate the creation of The Most Happy Fella (1956) and The Sound of Music (1959), but there’s a proverbial ocean between these two Golden Age musicals are being performed at prestigious festivals this summer.
A trip to Mediterranean climes came through musically, as the Boston Symphony Orchestra presented a largely satisfying concert performance of Don Giovanni on July 16.
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.
On Thursday June 30th, San Francisco Opera closed their summer season with a one-night-only special concert celebrating Eun Sun Kim’s first season as the Caroline H. Hume Music Director, in an aptly named concert “Eun Sun Kim Conducts Verdi.”
People’s Light deserves commendation for resurfacing The Vinegar Tree, and there’s satisfaction in seeing a fine old play handled with care.
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 second act of Dream of the Red Chamber reached the apex and provided the audience with soul-stirring fulfillment.
Your favorite box set-aholic here completely missed the release last August of Giuseppe Di Stefano – Complete Decca Recordings in honor of the great tenor’s centenary.
To conclude its triumphant season, last week the Met Orchestra performed its annual Carnegie Hall concerts under music director Yannick Nézet-Séguin and once again performed superbly.
The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.
An elegantly streamlined production of Into the Woods now on stage at Philadelphia’s Arden Theatre makes the best case for the show I’ve yet seen
Do you know the musical about the quirky little girl, her dysfunctional family and the devastating secret that binds them all together?
“This used to be a funhouse… but now it’s full of evil clowns / It’s time to start the countdown…. I’m gonna burn it down”
The elusive La dame blanche returned for one evening to New York City on May 28 thanks to the New Amsterdam Opera led by maestro Keith Chambers.
The opera The Rake’s Progress, as many people know already, was inspired by a series of engravings and paintings of the same name by William Hogarth, showing the decline of a young man into depravity and insanity.
Can we start by not using Barbra Streisand as a polestar here?
Pavarotti and Freni are gone but the Franco Zeffirelli Bohème remains.
The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.
Before Wednesday I don’t remember gasping when I entered a concert venue.
We open in a war room that resembled nothing so much as a parking garage. Amneris’s boudoir was certainly recognizable as such but I’d be hard-pressed to pinpoint the location of the Triumphal Scene other than the inside of a large discothèque.
The Met brought back 2019 smash Akhnaten last night, with nearly the exact same cast and creative team, and with nearly the same knockout effect of three years ago.
It was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.
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