Brett Dean‘s Of One Blood casts a well-trodden Tudor tale in a poignant, new light.
An exciting cast digs their claws into a heady production of La Calisto at the Théâtre des Champs Elysées.
Akhnaten has lost none of its power or glitz at the Los Angeles Opera.
Sarah Kirkland Snider’s Hildegard gives the Middle Ages the Bridgerton treatment at the Prototype Festival.
The show, with its high production values and ever so abstract and high-minded Vedic metaphor, presents a nominally innovative performance that points at the avant garde but never quite ventures into challenging territory.
Opera has always been Orpheus-obsessed.
Arts Council England, as a global policy trendsetter, may have sounded the death knell for the international opera industry as we know it.
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.
The cabaret at Saint Ann’s Warehouse delivered frothy fun and a dollop of pathos with Anthony Roth Costanzo and Justin Vivian Bond in Only an Octave Apart.
Call Out is an ample demonstration of Zachary James’ many talents—and an inspiring example of the artistic light that can be generated even when our theaters are temporarily dark.
The opera’s radical vision lay in its enormous scale, which encompassed a hundred-strong community chorus taken from the ranks of the Brooklyn Youth Chorus and Master Voices.
A near-full house attended the Jessye Norman Memorial Celebration at the Met on Sunday afternoon, the auditorium packed with family, friends, colleagues, and fans of the late soprano, who passed away on September 30 of this year.
Friday evening’s Met premiere of Akhnaten was a resounding triumph and an outstanding testament to Philip Glass’s enduring operatic vision.
It seems a travesty that Philip Glass’s Akhnaten, one of the seminal works of the 20th by one of America’s most iconic composers, is only just receiving its Met premiere in 2019, some 35 years after its first performance!
I hardly know where to heap my praise first.
While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.
Wednesday brought Christopher Alden’s grimly dark and violent take on Handel’s Aci, Galatea e Polifemo at National Sawdust.
Akhnaten, seen at the Los Angeles Opera on November 13 tells the story of the Pharaoh who abandoned traditional Egyptian polytheism.
Philip Glass is indisputably one of the most prolific composers of the last half century, yet none of his more than 20 operas has found a place in the standard repertoire.
“Is a work an opera simply because its creators choose to call it one?”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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