The fact that Barbara Hannigan has never performed at The Metropolitan Opera is just plain dumb.
My first opera of the new season in Paris, after kicking off in Brussels with Kris Defoort’s thought-provoking The Day of our Singing, was another nearly-new work, totally new to me: Sir George Benjamin’s Picture a day like this.
Barbara Hannigan‘s electrifying performance with the Juilliard Orchestra on Friday night proves that she is as much a force to be reckoned with on the podium as she is onstage.
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.
There was a lot expectation about the new opera by George Benjamin and Martin Crimp. Their previous collaboration, Written on Skin, was an enormous critical and public success, earning the work a place in the exclusive club of 21th century classics with selected works by Saariaho, Heggie and Birtwistle.
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.
The tendency to rank—to create subjective lists of best or greatest, or to organize things in ascending or descending order—is a human compulsion.
Wednesday brought Christopher Alden’s grimly dark and violent take on Handel’s Aci, Galatea e Polifemo at National Sawdust.
Jarrett Ott is a star. That is the only surprise takeaway from the well-intended snore, Cold Mountain.
Few new operas have received the near-unanimous acclaim that has greeted Written on Skin since its first performance at the 2012 Aix-en-Provence Festival.
George Benjamin’s 2012 opera Written on Skin received great acclaim at its opening at the Festival d’Aix-en-Provence, and the Royal Opera quickly mounted it in March 2013.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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