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Every summer Teatro Nuovo presents operas from the 18th and early 19th century in New York City. Its productions are “music-driven”: repertoire is often original, performance practice well-researched, diction intelligible, and semi-stagings streamlined. Singers and instrumentalists tell the story.
This month Teatro Nuovo became the only US opera company to program a...
When that final cut-off point arrives, when the Great Reaper pays us all the inevitable visit, are we really any the wiser as to the next step, what follows, what lies beyond? We can but speculate. And composers in their turn have attempted to sketch out aspects of this unknown territory, the approach to it as well as its own distinctive contours. Not necessarily only in old ...
That’s Puccini’s Madama Butterfly and Kelley Rourke and Eric Einhorn’s Cosi, not to be confused with Cosi fan tutte (though Cosi was set to Mozart’s slaughtered Cosi fan tutte score).
The good news is that it was a fine Butterfly, a revival of Francesca Zambello’s 2014 production, with settings by Michael Yeargan...
Strauss and Hofmannsthal’s Ariadne auf Naxos should in many ways be the ideal Glyndebourne opera. It is indeed pretty much the ideal opera for any opera house, given its metatheatrical treatment not only of the genre itself, but of almost any aesthetic standpoint anyone in the audience might care to adopt (including none at all). All are fondly mocked and cherished; ...
Des Moines Metro Opera’s unsurpassingly ravishing production of Karol Szymanowski’s King Roger has joined the ranks of the finest performances I have ever experienced.
This seldom performed masterpiece does not tell a story in a traditional way but rather explores complex issues of the essence of God, personal goals, spiritual fulfillment, physical pleasure...