A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
People these days often exclaim “…..is everything!” but often it feels like gross hyperbole. But surely anyone who has seen Mark Morris’s L’Allegro, il Penseroso ed il Moderato since it premiered in 1989 would agree that it is indeed everything!
A nonstop flow of COVID related announcements from New York City performing arts organizations has swept the city the past weeks.
Part vaudeville, part opera concert and part drag ball, Heartbeat Opera’s pageant was like a cup of eggnog spiked with a dash of LSD.
In the more than 500 years of the history of operas, rarely (if ever) has a coming of age story, particularly one from the child’s point of view, been presented as the main topic of the opera.
Iolanta was crowned on Thursday evening by Sonya Yoncheva’s haunting portrayal of the blind title character.
If I had to live with just one Tchaikovsky opera, it would be Iolanta.
“Non mi dispiace” seemed to be the general consensus in the loggione December 7 when Verdi’s Attila came roaring into La Scala to open the 2018-19 season.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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