Although primarily known as a vanguard of the Downtown music scene, John Zorn’s artistic and intellectual ethos is at home at the decidedly Uptown institution of Columbia University.
By Emma Hoffman
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Despite this being the first full-length opera for Gabriela Lena Frank, there’s no lack of experience across the creative team which, along with favorable reviews for the production, contributed to high levels of anticipation.
By Patrick Mack
It took more than 25 years for Harmony, the passion project of singer-songwriter Barry Manilow, to reach Broadway, where it opened recently at the Ethel Barrymore Theatre.
Edward Hopper’s paintings from the 1930s and 1940s are simply lousy with windows.
I’ve never had a better time in an opera house.
By Henson Keys
In its Met premier, neither a talented cast nor some beautiful musical moments were enough to make Florencia feel new or vital.
Leos Janacek’s 1904 opera Jenufa could be a rather grim affair.
By Henson Keys
Franz Liszt attempted practically every musical genre in vogue in the nineteenth century, although it is undeniable that a handful of the genres he only sampled (like string quartet) or adapted to his own temperament in original ways (like the symphony).
Gioachino Rossini’s adorable adaptation of Cinderella famously dispenses with a slipper in favor of a bracelet to lead the Principe Ramiro back to his Cenerentola. If only this performance had benefitted from such a glittering guiding hand.
By Harry Rose
Aristophanes’ The Frogs is a comedy with a lump in its throat – laughter coming from tears.
By Eli Jacobson
“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”
Let’s not forget that it’s only been two years since the Met mounted its first-ever opera by a Black composer.
By Max Keller
Two of France’s leading Early Music ensembles recently visited New York City to perform music by some of the 17th century’s leading composers.
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
By Alex Baker
When the New York Philharmonic announced Gustavo Dudamel as its next music director earlier this year, speculation arose immediately as to who would take his place out West when he leaves the Los Angeles Philharmonic in 2026.
To get right to the point, the performance did not come together despite some good elements and was a major missed opportunity.
By Eli Jacobson
This Sunday marked a muted return of the Richard Tucker Foundation Gala, which had the dubious distinction of the fourth edition not to feature a prizewinner and perhaps the first not to provide complete orchestral and choral accompaniment for its performers.
By Emma Hoffman
Chopping up the action and dutifully showing each plot point may work in a film but in an opera, where every piece of marginal dialogue must be set to music, it feels like a chore.
By Alex Baker
In this vulgar world, there is no situation that can’t be limned with a power ballad.
By David Fox
For Philadelphia opera lovers, October means the Giargiari Bel Canto Competition—a staple event for the Academy of Vocal Arts, and a pipeline for the public to discover some of their strongest resident artists.
By David Fox
In Handel’s Rodelinda, a usurped monarch, believed dead, returns to avenge his deposition and reclaim the woman he loves.
I hate to say I nearly cringe at the thought of Gioachino Rossini’s Il Barbiere di Siviglia.
By Patrick Mack
On October 20th, a wet but warmish Friday night, the Metropolitan Opera opened this season’s revival of Verdi’s Un Ballo in Maschera in David Alden’s 2012 production.
By Eli Jacobson
You might wonder how this slimly plotted show, which had a brief Off-Broadway run in 2007 before fading into relative obscurity, ended up occupying a piece of prime Main Stem real estate nearly two decades later. To that end, I have four words: Josh Gad. Andrew Rannells.
