Shakespeare Opera Theatre presented two American operas exploring themes of hypocrisy and deception — in a church!
John Danaher pays an operatic tribute to the writings of James McCourt, an author who captured the spirit of opera as queer and dangerous like no other.
Golda Schultz soldiers through illness at the New York Philharmonic.
Double double, toil and trouble, y’all, and happy spooky season from Slaylem. (It’s like Salem, but fun.)
This Traviata remained firmly Beltway-bound and by the time I had gotten home, the 45-minute traffic jam to leave the parking lot was eminently fresher in my mind than the evening’s performance.
Saturday night, Lyric Opera of Chicago gave us a wonderful evening of vocalism in honoring Renée Fleming’s 25th anniversary at Lyric.
Why do we go to the opera? Because the world needs a reminder of the power of forgiveness, particularly in these dark and gloomy times!
Norman Dello Joio, who was knocking about winning prizes for film and TV scores, composed The Trial at Rouen, his second opera on the subject, for NBC.
“Did you ever have the feeling that you wanted to go, and then you had the feeling that you wanted to stay?” This soul-searching question is likely running through the mind of Renée Fleming.
Douglas Moore’s score for The Ballad of Baby Doe has everything that could please and little that could offend.
Opera composers do not often change their spots.
The Little Opera Theater of New York (LOTNY) is presenting a double-cast run of two of Floyd’s early one-acts, Slow Dusk and Markheim.
The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops.
After the Georges Antheil opera that was my first assignment from La Cieca, I have to confess feeling slightly relieved when I opened the parterre package to find: Billy Budd! And not only a Billy Budd, but one starring John Mark Ainsley! The rest of the cast looked similarly starry (pardon the pun), so I…
Last night, Manhattan School of Music presented a charming, funny and partially polished Le Nozze di Figaro that showcased the ability of the school’s opera program to take a pleasing singer and create a great performer, making for a wonderfully entertaining performance.
Rolando Villazon not apparently in his very best form but La Cieca is very impressed with a) his willingness to sing out and take chances even when he is less than 100% and b) his well-supported legato that is the basis of even his most vehement singing. Anna Netrebko found a way to interpret Gilda…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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