Opera Industry Shows Support for Washington National Opera
A bold statement of opera industry solidarity with the Washington National Opera was issued following the news of the company's decision to leave Kennedy Center.
Richard Sasanow - Page 2
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Review: The Gordon-Foreman WHAT TO WEAR is Totally Wonderful at Prototype in BAM's Harvey
Yoo-hoo, Metropolitan Opera.
Review: CARMEN Sizzles with Akhmetshina Heading Stellar Cast at the Met
From her first appearance on stage, it was clear that mezzo Aigul Akhmetshina was no flash in the pan, giving us a scorching Carmen when this production was new just two years ago.
Review: Snider’s Brilliant Score Anchors HILDEGARD at Prototype under Pulitzer’s Caring Eye
This is Beth Morrison’s first year as sole curator, producer and presenter of New York’s PROTOTYPE Festival of indie opera/music theatre.
Review: PURITANI Is Bel Canto Bliss with Oropesa and Brownlee under Armiliato's Baton
The Met’s new production of Vincenzo Bellini’s I PURITANI made its debut on New Year’s Eve, but I caught up with it at its third performance on January 6.
Interview: 20 Years of Creating a ‘New Kind of Opera’ with the Prototype Festival’s Beth Morrison and BMP
Not long ago, I was sitting in a café in midtown Manhattan with Beth Morrisson, president and creative producer of Beth Morrison Projects (BMP).
Review: Warhorses? Hi Yo, Silver, With Sierra, Grigorian, Radvanovsky, Jagde at Carnegie Hall
The program said “Christmas Night Opera” but it didn’t happen till the 27th at Carnegie Hall.
Review: Before There Was Charlie Brown, There Was Menotti’s AMAHL, now at Lincoln Center Theater
Lincoln Center Theater’s new Kenny Leon production of Gian Carlo Menotti’s AMAHL AND THE NIGHT VISITORS, presented in association with the Metropolitan Opera, is hardly “A Charlie Brown Christmas” or “The Nutcracker.
Review: PORGY AND BESS Raises the Roof at the Metropolitan
When I read that the Met, in the program notes for James Robinson’s production of PORGY AND BESS, called it “a supremely American operatic masterpiece” I couldn’t help but think of Stephen Sondheim’s answer (perhaps apocryphal) when he was asked whether SWEENEY TODD was an opera or a music
Review: Beczala and Golovatenko Make Met’s CHENIER a Memorable Night under Rustioni
For those of us who like verismo opera—combining the raw emotions of everyday people with historical splendor—but have heard one too many BOHEMEs, TOSCAs, TURANDOTs and BUTTERFLYs in this lifetime, noting Giordano’s ANDREA CHENIER in the Met’s repertoire for this season seemed like a godsend
Review: Strauss’s ARABELLA Has the Music and the Singers—and Old Vienna—at the Met
For all those operagoers tired of classics set in rodeos, Las Vegas or on a space station (Paris has a BOHEME of that ilk), Otto Schenk’s production for ARABELLA, with stage design by Gunther Schneider Siemssen, dating back to 1983, will be a relief.
Review: Who Was That MASQUE-d Man? Davone Tines with Sonnambula Ensemble at the Frick Museum
Some of the audience at the chamber concert at the Frick Collection Museum—that jewel-box museum of art from the Renaissance to the end of the 19th century on New York’s Upper East Side—had fought its way there through the runners of the NYC Marathon.
Review: A REGIMENT with Comic Style and High Notes, Thanks to Morley and Brownlee at the Met
It’s hard for a soprano to get a break in Donizetti’s LA FILLE DU REGIMENT, which I caught up with at the Met on Friday evening.
Greetings! It’s World Opera Day!
It’s World Opera Day—an annual event held on October 25—a collaboration between OPERA America, Opera Europa, and Ópera Latinoamérica to showcase the ways opera companies and artists add vigor to their countries, communities and the world.
Review: MARTYRS & RELICS, A Mashup of Buxtehude, Shaw and Balliett at St. John the Divine
How did the martyrs—those Christians and otherwise who have been put to death or endured great suffering defending their beliefs, principles, or causes—meet their ends? As told through Douglas AA Balliett’s MARTYRS & RELICS, which played a handful of performances this week as its world premier
Review: Spectacular Nadine Sierra Shines in Villazon’s Somnolent SONNAMBULA by Bellini
Sometimes great singing can save a bad production.
Review: Met Season’s First DON GIOVANNI Shows Off a Great Score for the Audience to Relish
Mozart’s DON GIOVANNI was one of my first operas and remains among my favorites, despite its misogyny and the difficulty in putting together the kind of cast that can do justice to the string of show-stoppers in the score.
Review: Nothing Rusticana about the Met’s Premiere KAVALIER from Bates and Sheer
Anyone familiar with Michael Chabon’s Pulitzer Prizer-winning THE AMAZING ADVENTURES OF KAVALIER & CLAY must be a bit bewildered at how a 700-page novel could be turned into a 3-hour opera.
Preview: KAVALIER & CLAY Brings Three Sound Worlds to Met Season-Opener
The forces behind the Met’s latest try at bringing a different (sic: younger) audience to the house, THE AMAZING ADVENTURES OF KAVALIER & CLAY, joined forces at the Guggenheim’s Works & Process series last week to introduce the new work to a receptive crowd.
Review: Lincoln Center’s Festival Orchestra Concert Covered the Globe, from Paris to Patagonia
Maestro Karen Kamensek opened the Lincoln Center Festival Orchestra’s concert at Geffen Hall—“Paris to Patagonia”—with some interesting introductory remarks that almost sounded like an audition for the Philharmonic’s storied Young People’s Concerts.
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