That Was The (Opera) Year That Was
The pandemic forced the opera world to adapt and innovate. Have the changes been for the better or for worse?
The pandemic forced the opera world to adapt and innovate. Have the changes been for the better or for worse?
Eurydice is wunderkind Matthew Aucoin’s fifth opera.
A bad ferry crossing nowadays results only in vitriolic lines posted, in tantrum, on Trip Advisor: “Just because people don’t have choice, they feel like
Adriana Lecouvreur is an opera sneered at by cognoscenti. It’s by Italian composer Francesco Cilea, 1866 – 1950, who “composed some decent piano music which
My opera-fanatic friend, whose company I enjoyed at the Met for a performance of Carmen on Monday, sent me a lengthy review the following day
“Buy one, get one free”! “BOGOF” – a marketing strategy now condemned by the environmentally overwrought – is a compelling sales gimmick, for soapsuds, socks
I wonder if Arrigo Boito was a fan of Schopenhauer? Yes, I hear you say, “I’ve often wondered that, too… but who the hell is
New York Metropolitan Opera’s first time production of Massenet’s Cendrillon (“Cinderella” for those of us more familiar with the brothers Grimm version than that of
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