BWW Review: I Spy Prototype Festival's Chamber Opera, MATA HARI
The life and times of the spy-as-femme-fatale, Mata Hari, has always attracted the interest of film and stage artists.
Richard Sasanow - Page 24
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BWW Review: Pointer-Counterpoint – City Opera's CANDIDE vs. Prototype's BREAKING THE WAVES
When I saw that New York City Opera was doing Leonard Bernstein's CANDIDE at the same time as New York's Prototype Festival--with Missy Mazzoli's BREAKING THE WAVES opening the festival of opera-theatre and music-theatre on the same night—I thought that it was great counter-programming.
BWW Preview: Choreographer Pat Birch is Candid on New CANDIDE at City Opera, Opening January 6 at the Rose Theatre
Leonard Bernstein's CANDIDE has had more lives than that proverbial cat--the latest being New York City Opera's new take on it, opening on January 6 for a ten-performance run at Jazz at Lincoln Center's Rose Theatre.
BWW Preview: Mazzoli-Vavrek WAVES Gets Second Break, at New York's Prototype Festival in January
For a new opera to have its second major showing less than four months after its premiere is unheard of—but then BREAKING THE WAVES, based on the Lars Von Trier film of the same name, isn't just any opera.
BWW Review: Joyce DiDonato Brings WAR & PEACE, Baroque-Style, to Carnegie Hall
At IN WAR & PEACE, HARMONY THROUGH MUSIC, her Carnegie Hall concert the other night with the Baroque ensemble, Il Pomo d'Oro, mezzo Joyce DiDonato was in fine voice, if not in high spirits—and who could blame her? The state of the world is about as bad as it has been for a long time, with death an
BWW Review: Stunning Phillips in Saariaho's Mesmerizing L'AMOUR DE LOIN at the Met
On paper, it might seem that Kaija Saariaho's L'AMOUR DE LOIN (LOVE FROM AFAR), libretto by Amin Maalouf, couldn't possibly fill a stage the size of the Met's: three characters and a chorus that bobs in and out of the action.
BWW Review: Racette Strips to Essentials as Opera's Ultimate Mean Girl, SALOME, at the Met
Despite some fine singing from soprano Patricia Racette (who also went the Full Monty in the title role), the Met's revival of Richard Strauss's SALOME was a little tame--something that it should never be.
BWW Preview: Works & Process at Guggenheim Looks at the Met's L'AMOUR DE LOIN, Through December 29
Composer Kaija Saariaho is a woman of few words but potent music, judging by her comments about her acclaimed opera, L'AMOUR DE LOIN, and the excerpts performed at the Guggenheim's Works & Process series several weeks ago, in preparation for the opera's much-anticipated Met debut on Thursday, Decemb
BWW Review: Stars Align in Met's BOHEME with Opolais, Beczala, Kele and Cavalletti
Take Puccini's LA BOHEME for granted at your peril.
BWW Interview: As BOHEME's Marcello at the Met, Baritone Massimo Cavalletti Is the Real Deal
When Massimo Cavelletti stepped on stage at the Met on November 16, it was a milestone: His 100th performance as Marcello, the baritone lead in LA BOHEME and part of the quartet at the opera's heart: There's Mimi, the seamstress, the sad soul who dies at the opera's end; Rodolfo, the heartthrob teno
BWW Review: Juilliard Opera Takes FLIGHT in the Airport from Hell
Like a morsel of Proust's madeleine soaking in a cup of tea, the setting of Juilliard Opera's new production of Jonathan Dove's opera FLIGHT took me back to another age, and Eero Saarinen's modernistic TWA (now Jet Blue) Terminal at Kennedy Airport in New York.
BWW Review: Renee Fleming Glows in the Desert Sun of Kevin Puts' LETTERS FROM GEORGIA
Georgia O'Keeffe dressed in monk-like clothes and probably wouldn't have worn lipstick on a dare--hardly the image you'd associate with glamorous soprano Renee Fleming.
BWW Review: Where is Heroic GUILLAUME TELL Now that We Need Him? On Stage at the Met
Always looking for new worlds to conquer, Gioachino Rossini wrote GUILLAUME TELL in French, as Paris became the center of the opera world.
BWW Interview, Part II: Composer Kevin Puts, Soprano Renee Fleming and Developing LETTERS FROM GEORGIA
Since writing his first opera, SILENT NIGHT--the 2012 Pulitzer Prize winner for Music--with librettist Mark Campbell, composer Kevin Puts he has done two other operas, also with Campbell.
BWW Review: War Is Hell but the Puts-Campbell SILENT NIGHT Is a Wonder in Atlanta
If "satire is what closes on Saturday night" (according to the great playwright and wit George S.
BWW Review: Karita Mattila Steals the Show in Janacek's JENUFA at the Met
The opera's called JENUFA, after the unfortunate young woman at the center of its story.
BWW Review: An Old-Fashioned Opera Hoedown at Carnegie Hall's Richard Tucker Gala
Returning to Carnegie Hall this year after more than 25 years, the Richard Tucker Gala—celebrating the current winner of the Richard Tucker Award, soprano Tamara Wilson, as well as the life and career of the famed tenor for whom it was named—was a grand night for singing.
BWW Interview: Composer Kevin Puts, the Pulitzer Prize and Atlanta Opera's SILENT NIGHT
"Art isn't easy," Stephen Sondheim wrote famously in SUNDAY IN THE PARK WITH GEORGE.
BWW Review: '27' is a Diverting Evening on the Left Bank with Gertrude and Alice B.
In many ways, '27'--the 90-minute the chamber opera about Gertrude Stein, Alice B.
BWW Interview: Gordon plus Vavrek (plus Stein and Toklas) Equal '27'
Although '27'--the opera by Ricky Ian Gordon and Royce Vavrek about the lives of Stein, Alice B.
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