This week, Lincoln Center's Mostly Mozart Festival added its two-cents to the Leonard Bernstein centennial festivities, with the first of two performances of Bernstein's MASS: A THEATRE PIECE FOR SINGERS, PLAYS AND DANCERS, in an environmental production by Elkhanah Pulitzer.
When Stephen Sondheim was asked was asked about whether his great musical drama SWEENEY TODD was a musical or an opera, he once responded, “When it's done in a theatre, it's a musical.
If you didn't find a performance to attend in the first part of this series--or you simply can't get enough operas, symphonic concerts and musical theatre pieces thrown in for good measure--here's more to choose from.
If you can't get enough of operas, symphonic concerts and a few musical theatre pieces thrown in for good measure, have I got a summer for you! Start in New York City and head north--almost around the corner, or a weekend (or more) away--and you'll find more than enough to keep you happy during the
Why do we need a program to train opera composers and librettists? Mozart and Da Ponte--together, creators of LE NOZZE DI FIGARO, DON GIOVANNI and COSI FAN TUTTE--didn't go through training programs!
What's left to say about Judy Chicago's "The Dinner Party"--that milestone of 20th century feminist art now on permanent display at the Brooklyn Museum--that hasn't already been said? Actually, quite a bit, according to the students from the Opera Lab of NYU Tisch Graduate Musical Theatre Writing Pr
At the opening of New York City Opera's US premiere production of BROKEBACK MOUNTAIN, with a libretto by Annie Proulx based on her short story, it was the score by Charles Wuorinen that knocked me out, with its intricacies, aural moodiness and exciting orchestration.
AN AMERICAN SOLDIER--music by Huang Ruo and libretto by David Henry Hwang, directed by Matthew Ozawa--opened at Opera Theatre of Saint Louis (OTSL) on June 3.
Now into her 10th decade, the venerable composer Thea Musgrave is still full-steam ahead.
Composer Thea Musgrave is celebrating these days.
While New York waits for Netrebko's house debut as Aida to the Met next year, we always have…Brooklyn? If you hurry, you can catch next weekend's matinees--it's a local company that knows its audience and schedules accordingly--at the feisty Regina Opera Company, which is featuring a surprisingly
The world premiere performance of SANCTUARY ROAD (subtitled “An Oratorio Based on the Writings of William Still, a Conductor for the Underground Railroad”), by composer Paul Moravec and librettist Mark Campbell, performed by the Oratorio Society of New York under Kent Tritle, burst forth from th
No one in the audience was on Facebook or Twitter during Lliam Paterson's opera BAMBINO at the Met's List Hall--a rare occurrence for the company these days--on Friday May 4.
Despite some great music, nobody ever said that Beethoven's FIDELIO is an easy opera to love.
Can you imagine coming out on the stage of the Metropolitan Opera--facing an audience of about 4000 and be ready to sing without really much of a chance to warm up? That takes guts--and it's what the nine finalists in the Met's National Council Auditions Grand Final Concert did on Sunday, April 29.
John Holiday is a countertenor for people who don't usually appreciate countertenors--or think of them as “an acquired taste.
It's Edinburgh, Scotland, in 1828 and the city's world-renowned anatomy schools are suffering from a cadaver shortage.
Though the classical music season is still young, it'll be tough for anything that lies ahead to compete with Friday night's performance at Carnegie Hall by Martha Argerich, who seemed to be having the time of her life, while showing total skill and control.
There are opera festivals and then there are OPERA FESTIVALS, but none that promise to be the equivalent of Opera Philadelphia's O17, which opens on September 14 for a 12-day run.
Audiences at the New York Philharmonic have been known to come for the soloists and then slip out for the symphony.
.jpg?format=auto&width=365)
