Cher Public

Sound bite

Opera, it’s been said many times, is a generous genre, one that stretches to accommodate myriad techniques and traditions beyond the confines of Western music. But last weekend at Lincoln Center’s Rose Theater, audiences were given the chance to test that theory with a brilliant production that prodded the medium’s limits with a samurai sword.  Read more »

Telling the glory of God

“Potent and virile” bass Alex Rosen.

“The heavens are telling” begins the famous chorus that ends the first section of The Creation. Thursday night the heavens were telling lots of people to stay home as the season’s first snow storm battered New York City causing many to miss the long-sold-out concert by Les Arts Florissants of Haydn’s late masterpiece, part of Lincoln Center’s White Light Festival.  Read more »

Orientalism alive and well on the Upper West Side

“The festival closes with the U.S. premiere of Kaija Saariaho’s chamber opera Only the Sound Remains, directed by Peter Sellars. Based on two Noh plays, the hypnotic work creates a shimmering world of supernatural encounters, given voice by countertenor Philippe Jaroussky and bass-baritone Davóne Tines, and embodied by dancer Nora Kimball-Mentzos.” [Lincoln Center Announces 2018 White Light Festival]

Crepuscolo

“It’s not easy being green”: especially if you’re the two greatest Italian opera composers.

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Black, box

Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.

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Get happy

Lincoln Center hosted two milestones this week.

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Appearing nightly

I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.

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