Opera
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The New York Times building, by Richard Drew/AP I'd intended to make the previous "Days between" post the last…until such time as I once again fall so badly behind that I can't locate the 10 to 15 minutes it takes to flog a bit of my writing for The New York Times here on my
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New York Gilbert and Sullivan Players, by Richard Termine/The New York Times New York Gilbert & Sullivan Players: Patience at Symphony Space, January 3, 2014The New York Times, Jan. 6, 2014 Don't know that I would call Patience my favorite Gilbert & Sullivan operetta, as did a friend of mine on Facebook – I love
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"Tomorrow's Valhalla: Critics Weigh in on Standout Operas of Recent Decades"The New York Times, January 5, 2014 As longtime perusers of this blog already know, I always enjoy features in which all the classical-music reviewers for The New York Times are asked to mix it up on a single topic. I missed posting the recent
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Kate Soper and Gelsey Bell, by Kobi Davis Welcome to 2014—and what a crazy weekend for contemporary American opera in NYC January 11-12 is turning out to be. Not only will the second PROTOTYPE Festival be in full swing (about which more to come), but Morningside Opera will present Here Be Sirens, a new chamber
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The New York Times building, by Richard Perry/The New York Times I've promised myself for quite some time now that I'd finally get around to catching up with posting my writing for the Times here with a couple of omnibus posts, and now I'm finally making the time for it. Here's the first, covering everything
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Marcello Giordani, Eva-Maria Westbroek and Mark Delavan, by Ruby Washington/The New York Times Francesca da Rimini at the Metropolitan Opera House, March 4, 2013The New York Times, March 7, 2013 I don't often get much direct response to my Times reviews in the form of email; usually that's reserved for social-media channels and the occasional
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Allison Cook and William Ferguson in Powder Her Face, by Sara Krulwich/The New York Times Powder Her Face at the Brooklyn Academy of Music, February 15, 2013The New York Times, Feb. 18, 2013 New York City Opera opened its latest season with a brash, intelligent and sexy staging of English composer Thomas Adès's notorious debut
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Lauren Worsham, by Kristin Hoebermann Interview with Lauren Worsham [link missing]Time Out New York, Feb. 21–27, 2013 An excruciatingly short snippet from a lengthy, wide-ranging and brilliantly fun conversation with Lauren Worsham (full name: Lauren Worsham Jarrow), who plays Flora in New York City Opera's stylishly spooky production of Benjamin Britten's opera The Turn of
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Laurelyn Watson Chase, Stephen Quint and the NYGASP chorus, by Richard Termine/The New York Times The Yeomen of the Guard at City Center, January 18, 2013The New York Times, Jan. 22, 2013 I've written several times before about my abiding love for the Gilbert & Sullivan canon, and for the work done on its behalf
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Zac Ballard and Christopher Burchett in Soldier Songs, by Ruby Washington/The New York Times Soldier Songs at Pace University, January 11, 2013The New York Times, Jan. 15, 2013 So glad to have seen David T. Little's first musical-theater piece, especially having been so deeply impressed and moved by his subsequent opera, Dog Days (reviewed here
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Einstein on the Beach at BAM, by Sara Krulwich/The New York Times "Curtains Fall, But Operas Reverberate"The New York Times, Dec. 16, 2012 A year-end essay for The New York Times about the two events that had the most enduring impact for me in 2012: Philip Glass and Robert Wilson's Einstein on the Beach, which
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Kyle Bielfield in Curlew River, by Ruby Washington/The New York Times Curlew River and Riders to the Sea at the Juilliard School, December 9, 2012The New York Times, Dec. 11, 2012 A tremendous double bill of Britten's church parable Curlew River and Vaughan Williams's opera Riders to the Sea, presented by what might just be
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Stephen O'Brien in The Sorcerer, by Richard Termine/The New York Times The Sorcerer at Gerald W. Lynch Theater, December 1, 2012The New York Times, Dec. 4, 2012 Few companies in my experience do Gilbert & Sullivan as honorably and charmingly as Albert Bergeret's New York Gilbert & Sullivan Players, whose annual three-show residency at the
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Lucy Crowe and Kate Lindsey, by Sara Krulwich/The New York Times La clemenza di Tito at the Metropolitan Opera House, November 16, 2012The New York Times, Nov. 20, 2012 After a jam-packed run-up to an unusually relaxed and personally productive four-day weekend, time for a bit of catching up before the deluge commences anew. You've
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Catherine Malfitano, by Richard Termine/The New York Times The Martyrs at Dicapo Opera Theater, November 10, 2012The New York Times, Nov. 14, 2012 Not-insubstantial caveats about specifics aside, I continue to be impressed by the resourcefulness and pluck the Dicapo Opera shows in filling a useful, important niche in New York City's operatic
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William Christie, by Hiroyuki Ito/The New York Times Les Arts Florissants at Alice Tully Hall, October 19, 2012The New York Times, Oct. 22, 2012 Like the lede says, there are few things in life or art more reliable than the excellence of a concert by the eminent conductor William Christie and Les Arts Florissants. This
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Michael Kelly, by Steven Schreiber/The New York Times Gotham Chamber Opera at Le Poisson Rouge, October 1, 2012The New York Times, Oct. 5, 2012 Baroque opera and dance, for the second time in a week. Someone wants me to earn my pay. Also, not that anyone asked, but here's an instance in which I'm taking
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Lauren Worsham in 'Dog Days,' by Ruby Washington/The New York Times Dog Days at Montclair State University, September 29, 2012The New York Times, Oct. 4, 2012 This new opera, by composer David T. Little and librettist Royce Vavrek, is without question among the most important and memorable pieces I've heard this year. That I hope
Night After Night 