For a show set during the hardscrabble 1930s, very few of the performances give off an air of downtroddedness.
It’s 2020, Ivo’s the new Ethel Merman, and I caught a preview of his fourth Broadway show and first Broadway musical, West Side Story.
Stonewall threads some difficult needles with great success overall in this last installment of New York City Opera’s Pride Month Programming.
In our current political climate with issues of immigration, tribalism, and white nationalists, the 1957 musical West Side Story has a distinctly contemporary feel.
Joel Puckett and Minnesota Opera hit it out of the park.
Logistically, a large-scale revival of the operas of Giacomo Meyerbeer is an unreasonable request, much less an expectation.
Sunny, lakeside Cooperstown presents a peppy, exuberant, winning production of West Side Story, the musical.
If you’ve ever wondered what the Lost Boys’ abode might look like lined with mermaids, shopping carts, and unpeeled potatoes, look no further than Christopher Alden’s new production of Peter Pan.
I mean, how often does one get to hear Bernstein’s gorgeous, rollicking, and varied score nursed by a full orchestra and the artistic resources of an opera company?
In recent years, Opera Paralléle has established a reputation for creative programming of contemporary opera in San Francisco. Persuaded both by the promise of an unusual Bernstein-Heggie double bill, and the unusual venue of SF Jazz’s Miner Auditorium, I had the pleasure of attending an excellent production this past week.
As is happening increasingly in opera productions today (e.g., the Rosenkavalier in Stuttgart), the action of Moses und Aron at the Komische Oper begins some minutes before the music does.
The Berlin Komische Oper was the scene of one of my greatest opera experiences five years ago, so I particularly looked forward to a return to this theater.
I fall on my knees before this new live recording
issued by the San Francisco Symphony.
Once upon a time, a man and a woman met. He could sing, she could sing. They fell in love, got married, and became a power couple to rival Billary.
The crossover album: a hint that that an artist has either exhausted all the repertory at her command and owes her record label a new release or that her waning vocal resources really shouldn’t be taxed much further than an octave.
Ailyn Pèrez is a soprano on the rise.
The upscale art book for opera lovers this holiday season is George Tsypin Opera Factory: Building in the Black Void (Princeton University Press). Tsypin is designer of choice to directors Julie Taymor, Peter Sellars and Francesca Zambello; his most familiar work to New Yorkers is perhaps his Met Zauberfloete in collaboration with Ms. Taymor. The…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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