Category: Performances

Opera companies should practice historic preservation, keeping certain productions forever in the repertory because of their quality and aesthetic value.

Prometeo is so radically different that itís almost incomprehensible heard from preconceived assumptions of what music ìoughtî to be.

John Brown might have been aímouldering in his grave since he was hanged in 1859, but he was resurrected ó in body and spirit ó on May 3, when the Lyric Opera of Kansas City staged the world premiere of Kirke Mechemís John Brown.

Die Entf¸hrung aus dem Serail is too light to be a grand opera, but it makes rather grander demands of its singers than operetta could possibly bear.

English National Opera’s production of Harrison Birtwistle’s ‘Punch and Judy’ is the company’s second collaboration with the Young Vic Theatre — following the premiere of Neuwirth’s ‘Lost Highway’ a few weeks earlier — and remarkably, also the second London production of this early Birtwistle work within a month, the previous one having been at the Linbury Studio Theatre, a collaboration between Music Theatre Wales and the Royal Opera.

Over the years, one tried and true method of packing audiences in to the concerts of Robert Bassís Collegiate Chorale has been to present concert opera with impressive soloists.

Martha Graham used to say, “In order for there to be dance, there must be something that needs to be danced.”

When the Met presented La Fille du RÈgiment for Lily Pons during World War II, she sought permission to wave the Cross of Lorraine, symbol of Charles de Gaulleís Free French, during the Salut ‡ la France in Act II.