Opera

Beyond the Horizon (Teatro Grattacielo)

September 17, 2024

The libretto by the composer and musicologist Walter Simmons is very faithful to the O’Neill play, almost entirely dialogue taken from the original script. Unfortunately, they chose to shorten the text by 25% (as well as cutting the two intermissions) so that the tragedies happen one on top of the other with little time for intense emotional flights. This also dilutes the sense of irony that all the characters are down on their luck. Reducing the cast list by two tightens the play but changing the little daughter to a son and then keeping in the reference to playing with dolls seems inappropriate. Using O’Neill’s original text leaves hardly any room for arias and the opera sounds mostly like recitative set to music. The orchestrations which began with trumpet calls and included triangle and violin solos added to the power of the story. Conductor Christian Capocaccia did fine work with the orchestra but putting them behind the stage affected both the sound and the singers ability to follow them. [more]

The Reef (opera workshop)

April 13, 2024

On April 10, 2024, Merkin Hall at Kaufman Music Center presented a tantalizing teaser of a musical evening with the world premiere workshop of only the first act of 2020 Pulitzer Prize-winning composer Anthony Davis’ new opera, "The Reef." With a libretto adapted by Joan Ross Sorkin, from the 1912 novel by Edith Wharton, this was the first time that the work has been adapted for the stage, though it has been filmed as Passion’s Way. The workshop was sponsored by the Berkshire Opera Festival using a cast of emerging artists all of whom were vocally capable of singing the work. [more]

Eugene Onegin

April 6, 2024

Enter young baritone Edwin Joseph. He has that dark curly hair and handsome face, yes, and the crucial understanding of the necessary swagger and selfishness that carries this character through the opera, yes. Mr. Joseph brings to mind the earthy and always sexy television star Shemar Moore, someone who has the confidence without even trying; it’s just there, and in spades. Joseph is helped with Mr. Wills’ ingenious staging. Tatyana’s letter scene is performed with Onegin perched on the top stairs of a stage ladder in full view just stage left of her bedroom space. The implication that he is well aware he is desired by Tatyana is there long before he reads the letter. He doesn’t need to read her outpouring of her soul to know he has that effect on her. In the birthday party scene, it’s not the flaunting of Onegin’s flirtations with Olga that sets the tone for Lensky’s challenge to a duel, it is a brazen handjob administered by Onegin to an already emasculated Lensky off in a corner where Lensky hopes no one sees that is the trigger for everything that follows. And throughout, particularly in his closing aria in Gremin’s palace, Joseph with his rich resonant baritone has this score in the palm of his hand. [more]

American One Acts, a double bill

June 8, 2023

The little OPERA theatre of ny has become known for its adventurous programing of rarely seen and heard operas in English including the New York premieres of Benjamin Britten’s opera for television, "Owen Wingrave," and Carlisle Floyd’s final work for the stage, "Prince of Players," as well as new translations of works by Gluck, Mozart and, Rossini. Now in association with Harlem Opera Theater and National Black Theatre, they have presented an unusual double bill of contrasting "American One Acts," both set in the American South. Act I was a performance of "Highway 1, U.S.A." (1962) by William Grant Still, called the Dean of African American Composers, and the first Black composer to have an opera performed by a major company, his "Troubled Island" premiered by the New York City Opera in 1949. The second half of the bill was Kurt Weill’s "Down in the Valley," a folk-opera intended for schools and community groups, written for the radio in 1945 and then revised for stage production in 1948 at Indiana University by the Bloomington Opera Workshop. After its premiere it had 85 amateur productions in the following ten months. However, it has not remained in the repertory. [more]

Iolanthe (MasterVoices)

May 11, 2023

MasterVoices concluded its 2022-23 season with a lovely concert staging performance of Gilbert and Sullivan’s rarely seen comic opera "Iolanthe (or The Peer and the Peri)" staged and conducted by artistic director Ted Sperling. The cast was mainly made up of Tony Award winners (Christine Ebersole and Santino Fontana) and Broadway regulars (David Garrison, Jason Danieley and Phillip Boykin) with some fast rising young opera singers (Ashley Fabian and Schyler Vargas) and a principal ballerina from the New York City Ballet (Tiler Peck). All seemed to be thoroughly enjoying their Carnegie Hall outing. The 120-member Master Voices chorus and orchestra gave a glorious rendition of the 141 year old score. [more]

Lady M (Heartbeat Opera)

April 22, 2023

Heartbeat Opera seems to have found the way to separate themselves from the rest of the pack of alternative opera companies here in New York. Their way is to inject the standard repertory of grand opera with fresh ways of presenting the rich beloved scores. Enter music director Daniel Schlosberg, a Brooklyn-based composer-pianist who is their ingenious arranger for both Puccini's "Tosca" and Verdi's renamed "Lady M," and conductor and pianist for "Lady M." He arranges "Tosca" for a band of eight, "Lady M" for a band of six. Consider both of these Herculean feats with sumptuous results. [more]

Tosca (Heartbeat Opera)

April 20, 2023

Just when you think you’ve seen an opera so many times you can’t imagine it being told anew along comes Heartbeat Opera with a riveting take on Puccini’s "Tosca." Director Shadi G. sets it as a thriller in Teheran, Iran with a cast of singers trying to get through a performance in defiance of the censors. The opera "Tosca" has always been set under a dictatorship of an authoritarian regime. It is usually set 1800 with the Kingdom of Naples’s control of Rome threatened by Napoleon’s invasion of Italy. The Heartbeat production underlines the usual terror with Irani police officers in shadows, hidden in stairwells and behind stage entrances ready to arrest the performers if they do anything outside the strict code of ethics and behavior in the Irani culture. This added layer to the story provides a lot of exciting running exits into the audience to avoid capture by the authorities. [more]

Iceland

March 30, 2023

Composer/librettists O-Lan Jones and Emmett Tinley have created what they refer to as “a re-Creation Myth” in this fascinating interdisciplinary opera theater work entitled "Iceland." It is profoundly musical in that it embraces both opera and contemporary musical theatre by casting 12 opera singers as The Hiddenfolk and Mythic Beasts of Icelandic folklore and two musical theater singers who would be equally comfortable sitting on the Billboard Hot 100 as the two leads that are pushed together romantically over the course of 17 hours one New Year’s Eve in Iceland. [more]

Lady in the Dark

January 31, 2023

Unfortunately, this is musical comedy and does not need operatic voices, Lawrence being famously a singer with a very small range, while Kaye came from cabaret and night club. With all of the leads double cast, Sunday matinee’s singers seemed either miscast or poorly directed by Eric Lamp and Benjamin Spierman. Matthew Imhoff’s sets which are carried on and off by the singers took an inordinately long time and there were moments of dead time during office scenes which also seemed underpopulated. While conductor and artistic director Michael Spierman gave a creditable performance of the complete score, it did not seem to hang together but felt like individual numbers, unlike many other Weill scores which feel integrated and whole. [more]

H.M.S. Pinafore (NYGASP)

January 5, 2023

While Albert Bergeret’s old-fashioned production does not sparkle, it is a solid, steady ship that satisfies with all its jokes intact plus a few new ones like the hilarious drunken scene between the captain and the First Lord of the Admiralty. Associate conductor Joseph Rubin kept the orchestra in close harmony and gave an excellent account of Sullivan’s lilting score. Albère’s attractively realistic scenery looked brand new and created interesting stage pictures. The lovely late Victorian costumes by Gail Wofford helped complete the stage picture. Benjamin Weill’s lighting design bathed the stage in sunlight for the daytime scenes in the first act, and used blues and purples for the evening scenes of the second act. [more]

Faust et Hélène & L’heure espagnole

September 21, 2022

Maurice Ravel’s delightful 'L’heure espagnole," usually paired with his other opera, "L’enfant et les sortilèges," is here paired with "Faust et Hélène," an obscure cantata by Lili Boulanger, one of Ravel’s contemporaries. Hearing her exquisite Faust et Hélène is comparable to discovering a diamond you didn’t know you had. New Camerata Opera opens its seventh season with this very engaging double-bill. Director John de los Santos has envisioned a world where the passage of time is the focus of both of these operas. While the set for the Boulanger is spare, Mr. de los Santos is aided in this concept for the Ravel with projections of striking clockwork photography and a set filled with a collection of stylized grandfather clocks from NYC-based artist Atom Moore. Ashley Soliman’s costumes are timeless for the Boulanger work – the men are shirtless and barefoot in a variation on dhotis or male harem pants while Hélène is in an orange gown with a virtually endless train. [more]

Sacco and Vanzetti: A New American Opera

September 20, 2022

The finished score by Lehrman is 50% music he created based on themes by Blitzstein: pieces of his unproduced 1932 opera "The Condemned" (an earlier work about Sacco and Vanzetti), a march, a cabaret song, a song cycle, a piano piece for mezzo-soprano Brenda Lewis who had starred in Blitzstein’s 1949 opera "Regina" (based on Lillian Hellman’s "The Little Foxes"), and portions of 13 songs from "Reuben, Reuben," his 1955 folk opera set in Little Italy which failed in Boston and which he had been recycling in later works. Blitzstein’s libretto for the three-act "Sacco and Vanzetti"(performed at Lehman College in two parts) was based on transcripts, letters, and interviews with the principals involved in the case. One addition approved by the estate was the inclusion of Governor Michael Dukakis’ exoneration of Sacco and Vanzetti in 1977, the 50th anniversary of their execution, as a fitting new ending to the opera. [more]

Goodbye, Mr. Chips

March 4, 2022

The production is a combination of film and theater techniques which keep reminding us that we are watching a dramatization: realistic sets (designed by Jacquelyn Scott) give way to scenes in which we are on a stage. Sets also revolve for no specific reason except possibly to show the passage of time. As seen up-close on camera, they all look too clean and tidy which suggest theater sets. The 20 members of the Young People’s Chorus of New York City, augmented by an additional 20 voices (all conducted by Francisco J. Núñez), are only seen in video that appears on Chips’ blackboard or behind the windows of various rooms. We never get a sense of Chips’ running a class or his interaction with a roomful of boys. [more]

Intimate Apparel

February 11, 2022

The new opera, "Intimate Apparel" is a very impressive, accessible work. If it has a fault, it is completely humorless but then the original play did not include comic relief either. Unlike Ricky Ian Gordon’s last opera, the recent Garden of the Finzi-Continis, the music here is not only beautiful but suitable and appropriate as the singers and the music are one. Lynn Nottage’s libretto is a masterpiece of economy, though her play was too. Will the opera supersede the play? Probably not, but it should certainly do well in other intimate opera houses where its charms can be fully appreciated. [more]

The Garden of the Finzi-Continis

January 31, 2022

While Gordon has said in interviews that his model for the music was Puccini, in fact, the atonal orchestral score sounds more like operas by Gian Carlo Menotti, Carlisle Floyd and Dominick Argento. The singers are usually so loud that they tend to drown out the orchestra which is playing something different than the vocal score. Placed on the far right of the stage, the orchestra plays to the side wall muffling the sound. The orchestral score suggests background music for a film rather than music for the opera house. On paper, Korie’s text reads fairly well; however, in performance the singers are punching his rhymed couplets so hard that they seem a mistaken intrusion. At almost three hours, "The Garden of the Finzi-Continis" feels overwritten though episodes have been left out of the original novel. In the libretto provided to the press in advance, Alberto’s story deviates from that of the novel, but on opening night this was changed back to the book’s ending. [more]

Sun & Sea

September 17, 2021

Performed by a cast of 15 singers and enacted in pantomime by numerous local volunteers all dressed in swimwear, Sun & Sea is a typical day at the beach in which we hear the thoughts of the singers, some of whom worry about the state of the world while others are entirely oblivious to it. Not only is it opera lite and a great deal of fun without being funny, it is also a very subversive way to communicate a message on as serious a subject as climate change. While the singers communicate their thoughts, the beachgoers frolic and enjoy their day oblivious to us but not to each other. The cast is a cross-section of all ages and races, including young children and two well behaved dogs – but no vendors. The totally realistic action (aside from the singing) includes reading, texting, eating, chatting, drinking, walking, cuddling, tanning, playing ball or games, while the children dig in the sand and build sandcastles. Some sit on beach chairs or chaise lounges while most lie on blankets on the sand or stand. [more]

The Mikado or, The Town of Titipu (NYGASP)

December 31, 2019

The framing device is not a completely elegant solution to the problem, but it gets the job done. Gilbert gets knocked out cold while examining the contents of the trunk. While incapacitated, he imagines the members of the company playing the roles that he and Sullivan will eventually create. In this fantasy 'Mikado," the citizens of the town of Titipu are more British townsfolk than Japanese villagers. They dress in bright Victorian-era costumes by Quinto Ott. The set by Anshuman Bhatia includes a railway depot from which the characters who have arrived in town emerge (giving a multiple meaning to the lyric “Comes a train of little ladies…”). The cast consists of actors of various racial backgrounds. [more]

Owen Wingrave

May 15, 2019

Witnessing the LOTNY production makes one wonder why "Owen Wingrave" is not performed more often: it has a small cast of eight with juicy roles for all of the characters, evenly divided between men and women’s roles, not true of either of the composer's operas, "Peter Grimes" or "Billy Budd." Although it makes use of the twelve tone scale, its dissonances are not hard on the ear. The plot is simple to follow and it can be performed in a unit set as was demonstrated by Josh Smith’s attractive and flexible design with six playing areas at the GK Arts Center. With the use of video or slide projections and atmospheric lighting, one can make the production as spooky as one wishes for this late Victorian ghost story. [more]

Rameau, Maître à Danser (Les Arts Florissants)

March 7, 2019

Unlike the company’s 2016 luxuriously staged "Les Fêtes Vénitiennes," also at the Gilman, "Rameau" was purposely staged by Sophie Daneman as if in a village square, simply but effectively, the “effects” improvised as only peasants would: entrances to temples and heaven were curtains stretched between two poles; Jupiter appeared in a high stage box as an improvised Mount Olympus; a dancer as a god glided bare-chested undetected amongst the celebrating peasantry. According to the program, this type of performance is called “théâtre de la foire” (theater of the fair). [more]

The Pirates of Penzance 2018 (NYGASP)

January 2, 2019

In the plus column, it was easy on the eyes. Scenic designer Lou Anne Gilleland created agreeable though not particularly elaborate sets: a rocky stretch of seashore for the first act and a gloomy ruined chapel for the second. Lighting designer Benjamin Weill gave us a kaleidoscope sky that turned lavender or red or some other dramatic shade, according to the changing moods of the story. And Gail J. Wofford and Quinto Ott’s costumes were bright and playful, especially the flouncy sleepwear (Queen Victoria’s Secret?) worn by the female wards of Major General Stanley, the operetta’s famed “Modern Major General.” [more]

Experiments in Opera: Modularias

December 7, 2018

Though vastly different from each other, all four operas dealt either directly or indirectly with time, with the ways in which the past -- personal, historical, mythic -- influences the present. Each work, though short, provided a compelling immersion in a very particular and individual moment. [more]

The Yeomen of the Guard

October 30, 2018

As for cast standouts, Greenwood excelled both musically and dramatically. His ringing, expressive vocals and crisp diction made him an audience favorite. And he created an effective character shift when the assertive and seemingly self-adoring Fairfax shaves his beard to become a rather diffident novice yeoman. Another notable turn came from David Auxier as the austere, thoughtful Sir Richard Cholmondeley, the Tower lieutenant. (Auxier also served as choreographer, providing a few athletic dance moves of the sort not always seen in Gilbert & Sullivan productions.) In terms of musicality, Benke’s Phoebe had a warm, winning, almost musical-theater sound, while Watson Chase prompted goose bumps with her vibrant top notes. The production’s orchestra sounded rich and full from overture to Act II finale. [more]

Brokeback Mountain

June 3, 2018

While "Brokeback Mountain" impresses in its sincerity, it does not move which is a serious problem considering the romantic and tragic plot. Director Jacopo Spirei’s cast is in fine form as singers though the music and its libretto fail to fulfill this story’s potential. Daniel Okulitch and Glenn Seven Allen as the two doomed lovers make indelible impressions of men in a repressed society which does not allow them freedom of expression - even though they are not given the kind of music that can move the heart to tears. Brokeback Mountain which is fine as far as it goes offers the same disappointment of many new modern operas in that its writing falls short of its high-reaching intentions. [more]

Master-Pieces, A Chamber Opera

May 7, 2018

However, it’s not what we normally think of as an opera. And the performance, characterized by both moving strengths and disconcerting weaknesses, unfolded, awkwardly and interestingly … and then, at the end, quite powerfully … as a not-opera. Typically, operas’ drama lies in their plots; as audiences, when we’re moved, it’s because we’ve witnessed something dramatic. But in this performance of Kotik’s "Master-Pieces," the dynamic and moving intensity of the work’s conclusion lay in the fact that the work’s fundamental plotlessness – the libretto is essentially a series of poetic extractions from a 1936 lecture on aesthetics, ontology and existentialism – was transformed into a very personal drama in which the audience cannot avoid a shift from witness to participation. [more]

Jerry Springer – The Opera

March 9, 2018

"Jerry Springer - The Opera" is not for opera purists nor is for people who are easily offended by four letter words and other bad language of which there is a multitude. However, its irreverence skewers social, religious and political hypocrisy. The New Group’s production directed by John Rando is one of the most exciting musical theater experiences to be currently obtained in New York. It actually seems more relevant in Trump America where this sort of thing is cable-fodder every night of the week. If you are a dedicated theatergoer, miss this show if you dare. [more]

H.M.S. Pinafore (NYGASP)

December 30, 2017

Along with some contemporary updating which always gets a laugh, Albert Bergeret’s direction is sharp and shrewd and his conducting of Sullivan’s sprightly and animated score is equally assured as well. The diction is crystal clear, a must for Gilbert’s intricate and clever lyrics. With an attractive and realistic setting by Albère and pleasingly color-coordinated costumes in blue, white and red (the colors of the Union Jack) by Gail J. Wofford, this is a delectable and entertaining revival for both those familiar with it and others discovering its pleasures for the first time. [more]

The Nubian Word for Flowers/Rainbird

December 29, 2017

The set for the opera was itself a living, organic phenomenon; it functioned as an additional character in the opera. IONE sat near the moveable stage-flats; her back was to the audience, yet she was one of us. Hovering above the stage set were great canvas triangles – mildly billowed faluka sails – on which IONE projected Victorian and Edwardian era images of the British Empire in all its beauty and its ugliness. Priestess and manager, oracle and medium, IONE was at once a participant in the visual commentaries on Kitchener’s internal dramas and their director. [more]

Dolores Claiborne

October 26, 2017

King’s "Dolores Claiborne" would seem a strange choice for dramatization as the book is a monologue told entirely by its protagonist at a police interrogation over a murder on Little Tall Island off the coast of Maine. Though J.D. McClatchy’s streamlined libretto is very faithful to the book (while eliminating some characters and complications), it never approximates the compelling and wry narrative voice in Dolores’ first-person tale which makes her sympathetic and gives a sense of urgency to her story. Mezzo-soprano Lisa Chavez creates a believably passive character as a maid/companion to a selfish, rich woman whom she is accused of killing and an abused wife saddled with an alcoholic and brutal husband who died 30 years earlier but she brings no sympathy to the role. She just seems a tired, traumatized woman, not very interesting for the leading character in an opera. [more]

The Sorcerer (New York Gilbert & Sullivan Players)

September 17, 2017

This 1877 operetta, now celebrating its 140th anniversary, has been reduced to the nine major roles and the chorus has been eliminated. The result is a streamlined version that moves along at a steady pace under Albert Bergeret’s music and stage direction. The problem with the production is that although this is listed as a comedy, the new NYGASP revival wasn’t very funny except for several contemporary references such as “Amazon Prime” and the “changes at the White House.” [more]

La Fanciulla del West (New York City Opera)

September 10, 2017

The newly reconstituted New York City Opera opened its second full season with a shared production of Puccini’s rarely performed "La Fanciulla del West" created in collaboration with the Teatro di Giglio di Lucca, Italy; Teatro Lirico di Cagliari, Sardinia; and Opera Carolina of Charlotte, North Carolina. Ivan Stefanutti’s production is solid but old-fashioned and traditional except for huge projections that fill the back wall of the three sets, some which work and some which don’t. Conducted by James Meena, Opera Carolina’s general director and principal conductor, with a cast led by soprano Kristin Sampson in the title role, both the orchestra and cast gave sturdy though only intermittently exciting performances in this unusual Italian opera. [more]

Angels in America (New York City Opera)

June 23, 2017

By eliminating most of the extended fantasy elements of the play, they reduced the storyline to the domestic turbulence of two couples and a deservedly ugly portrait of Roy Cohn. Add in a visit by the iconic Bethesda Fountain Angel (here totally generic) and some very dramatic, brass-heavy music and you have this intriguing production by New York City Opera that succeeds as an opera as long as one is not familiar with the source material. What seemed heavy going and existential in the original comes across on a much more human level in the opera. [more]

Heartbeat Opera: Butterfly

June 9, 2017

The artistic team responsible for this "Butterfly" made radical decisions and changes. Puccini’s original three acts of linear story – love and “wedding,” waiting, betrayal and death – are reorganized and abbreviated into three scenes of waiting, remembered love, and then betrayal. Some minor characters in the original opera are eliminated to create a caste of just five singing characters. The entire orchestra is reduced to a chamber orchestra of just six musicians, the Cantata Profana. The adaptation of Puccini’s orchestral score for this small chamber group by Daniel Schlosberg is remarkable: unexpectedly, its absolute faithfulness to Puccini’s musical intent at almost every turn made up for the diminished number of musicians. [more]

La Campana Sommersa (New York City Opera)

April 8, 2017

This production was a co-effort with Fondazione Teatro Lirico di Cagliari whose orchestra joined forces with the New York City Opera Orchestra under the baton of Ira Levin who brought out every bit of color in the music. Maestro Levin was sensitive to the needs of the singers, knowing just how to mold the orchestra’s sounds so that their voices soared over the often over-orchestrated score (not helped by the wrong-headed scrim used in the forest scenes). [more]

1 2 3 »