Carmen Paddock looks at contemporary opera’s prestige literary turn and what it takes for operas adopted from novels to last.
Following a review by Christopher Corwin, figures from in and around the box react to Pablo Larraín‘s new film Maria
Christopher Corwin reviews Pablo Larraín‘s Maria
The film of The Hours failed to effectively weave together the novel’s trio of threads of interiority about suicide and secondarily literary creation. I wondered if an opera would stand a better chance at achieving that? Based on Tuesday’s diva-encrusted stage premiere of Kevin Puts and Greg Pierce’s The Hours, its creators didn’t pull it off either.
Daniel Thomas Davis’ The Impossible She, was a towering musical achievement, a hugely complex work packing a whopping political and intellectual punch.
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.
Though barely a week old, 2019 has already provided New Yorkers with an essential, breathtaking music drama focusing on two women struggling for their very survival.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
The Met is on it with something something woker than woke: a noirish psychodrama of a frigid hysteric who seeks redemption via Freudian analysis!
“Trove Thursday” offers a broadcast from last year’s London world premiere of Nico Muhly’s Marnie.
Nico Muhly has set himself the task of presenting Winston Graham’s elusive heroine Marnie on the operatic stage.
In September, Finnish National Opera gave the world premiere of Höstsonaten (Autumn Sonata), based on Mr. Bergman’s 1978 study of a troubled mother/daughter relationship.
While Bernard Herrmann is remembered primarily for the seven films on which he collaborated with Hitchcock, he also composed one opera: Wuthering Heights, written between 1943 and 1951.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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