The Vienna Philharmonic brought along no star soloist for their three-night residency at Carnegie Hall this past weekend. Their programs didn’t include any commissions or flashy new works. The repertoire choices hewed closely to the core Austro-German corpus for which they are justly famous, including multiple works they had given in their world premieres.
Non-observant Jew that I am, my recent immersion into not one by two new plays—Pictures from Home on Broadway, and The Wanderers at the Roundabout—that very much live in that world was something of a double-whammy.
On the train ride home I was thinking that I don’t want to see or hear Norma ever again.
Cotton, a world-premiere song cycle commissioned by Philadelphia’s Lyric Fest, takes its audience on a journey through Black American history that extends from the Deep South to the contemporary urban landscape.
It seems that François Girard has been watching a little too much Star Wars lately. His new production of Lohengrin, which opened at the Metropolitan Opera Sunday afternoon, reduced Wagner’s opera to a knockoff space opera, full of hackneyed sci-fi tropes and B-rated futurist apologue.
Updating opera settings is, of course, expected; I’d wager in most houses more often than not it’s now the norm. Still, few in my experience have the specificity and local immediacy of Don Pasquale at the Academy of Vocal Arts.
A stack of noteworthy recent baroque vocal CDs on my desk has been staring at me for weeks, so I’m tackling them on Handel’s birthday before the Met roars back into action beginning this weekend.
What’s the status of the American Dream nowadays? Did it ever really exist? If it’s dead, why isn’t it gone?
Ghost sex is part of the popular zeitgeist.
Baritone Will Liverman is becoming a real Renaissance man.
Now the opera world can have a taste of what an immersive opera looks like, as Opera Parallèle opened their spectacular world premiere of Everest: An Immersive Experience .
There is a moment about 75% of the way through the Rome Narrative where you can almost literally hear Tannhäuser’s stomach turn.
For anyone who thought that Downton Abbey, with its plot lines divided between the gentry and their faithful (or not-so) servants was somehow unique, that particular tale, and lo its many variations, has been told in one form or another since Pierre-Augustin Caron de Beaumarchais put quill to paper in 1778 with La Folle Journée, ou Le Mariage de Figaro.
Director Richard Jones’ well-traveled and visually arresting production of Humperdinck’s 1893 opera Hansel and Gretel has returned to Lyric Opera of Chicago after a 10-year absence.
Kurt Weill, Ira Gershwin, and Moss Hart’s 1941 musical Lady in the Dark is a psychoanalytical romantic comedy. It simultaneously mocks and takes seriously the power of looking inward to understand oneself, a process which can be silly, frustrating and life-changing in turn.
For me, Fedora is the perfect opera
When I saw that Richard Bonynge AC CBE, conductor and musicologist supreme, had authored a book titled Chalet Monet about the home he shared with his wife, La Dame Joan Sutherland OM AC DBE, in Les Avants, Switzerland I practically had to wipe my chin.
What happens when you attend a performance and it doesn’t engage you?
Joyce DiDonato’s Eden immerses listeners within a centuries-spanning musical meditation that channels the majesty of our natural world.
Shortly before Tuesday’s performance of Salome at La Scala, I did something I rarely do: I took a mirror selfie.
It doesn’t get more classic than John Dexter‘s Dialogues des Carmélites.
On paper, the Met’s revival of L’elisir d’amore looked like a lovely evening. And at times it was—a few scenes hinted at what it could be and what it might yet become.
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.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
