I have a confession and you may need to sit down for it: Andrew Lloyd Webber’s Evita was one of the gateway drugs to my eventual opera fandom.
Can we start by not using Barbra Streisand as a polestar here?
The Kennedy Center’s Opera House was a white-hot crucible of theatre kid energy on Friday evening for a luxurious 50 Years of Broadway at the Kennedy Center gala.
From the technical standpoint San Francisco Opera’s Billy Budd was pretty much flawless.
Earlier this month I got the opportunity to sample two very different Baltic operas.
Not a few eyebrows arched on social media when L.A. Opera appropriated the hashtag “Fight like a girl” on street level poster adverts all over town for the revival of their 2013 production of Giacomo Puccini’s Tosca.
Since Gilbert and Sullivan remain constant in the light-opera repertory, somewhere between Fledermaus and Les Mis in popular esteem, there must be good reasons their final collaboration, The Grand Duke, is seldom revived.
Packaged with a peek-a-boo cover exposing only Bryn Terfel’s lovely left eye (the effect of turning the page to reveal the Welsh bass-baritone’s head in its entirety brings to mind this Encyclopedia Dramatica entry) and an oddly hip-hop-flavored gray-on-black treatment of the album’s title, Terfel’s Bad Boys seems designed for those who like their divos…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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