HOMETOWN TO THE WORLD--the 70-minute contemporary chamber opera by Laura Kaminsky and Kimberly Reed about the aftermath of a 2008 raid by the US Immigration and Customs Enforcement (ICE) on a slaughterhouse in Postville, Iowa--is about as far from the Midwest of Meredith Willson’s THE MUSIC MAN im
Will Crutchfield’s gutsy Teatro Nuovo brought New Yorkers a chance to evaluate Rossini's MAOMETTO SECONDO the other day at Jazz from Lincoln Center’s Rose Theatre.
When Paul Moravec calls himself as “a sort of Method composer,” in describing his work on A NATION OF OTHERS, commissioned for the Oratorio Society of NY, debuting at Carnegie Hall on Nov.
In EVERYTHING RISES--a one-hour performance piece from African American bass-baritone Davone Tines and Korean American violinist Jennifer Koh that had its East Coast premiere last week as part of BAM’s Next Wave series--we see these two virtuoso musicians take control of their careers, with the he
Afraid of Shostakovich? Don’t be.
O22, as Opera Philadelphia's festival was called this year, wasn’t exactly “something old, something new” but more like big fat sandwich cookie.
On the second night of the new season, the Met went for Mozart, with his early success, IDOMENEO, in a fluid and elegant performance, but it was hardly 'business as usual.
Written over 400 years ago, Cherubini’s MEDEA finally made it to the Met on the season’s opening night, in a new production by David McVicar.
The new opera season started out for me far from Lincoln Center’s madding crowds, in Brooklyn’s Irondale Center, near BAM, with a pair of short pieces by French composers that definitely had their charms.
I’ve heard much praise about the quality of the vocal writing of Jake Heggie from singers who adore the way his music caresses their voices.
Last week, “The Angel’s Share”--which falls under the 'Death of Classical' umbrella--kicked off its new season at Green-Wood with a deeply poignant piece, Sarah Kirkland Snider’s MASS FOR THE ENDANGERED, a re-imagining of the Latin Mass with text, combining traditional and new, by poet Natha
You’d have thought that the Met Orchestra would have had enough by the end of the season in the opera house, but, no.
While I was watching the Met’s current beautiful yet somehow languid production of the Igor Stravinsky and WH Auden/Chester Kallman opera THE RAKE’S PROGRESS the other night--with only two more performances until it goes back into mothballs for probably many years--I couldn’t help wishing that
Is there another Shakespearean drama filled with as many quotable quotes as “Hamlet” (even when they’re used out of context and given a foreign meaning)? But “To be or not to be” is surely the most referenced and, certainly, in the new operatic HAMLET currently at the Met by Brett Dean and
On Saturday night, Version 2.
“In Rigoletto we're dealing with abuse of women, male power, rape, murder.
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.
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