A thought experiment: From these cherry-picked events by the city’s best opera and dance companies, choose two—one from each category—for a double bill. (Ignore actual show dates and times.) For example, check out Gelsey Bell’s trickily titled mɔɹnɪŋ [morning//mourning], then head over to BAM for Bill T. Jones’s Still/Here. Both works examine mortality: cosmic and deeply individual. Ink is a Taiwanese multimedia piece that turns a great calligrapher’s work into movement; Indra’s Net transforms a Buddhist legend into music-theater. There’s a new opera about drone warfare (Grounded) whose topicality and politics could contrast nicely with an immersive dance experience about wraiths from another dimension (R.O.S.E.). Go ahead and play this game at home, but eventually, you’re going to have to leave the apartment!
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OPERA
mɔɹnɪŋ [morning//mourning] at Green Wood Cemetery Catacomb (September 12–14)
Can you imagine the end of humanity—and then a billion years after that? No need to; the ethereal composer-vocalist Gelsey Bell already has. Bell’s 2023 opera is at once apocalyptic, transcendent and quirky—a detailed description of the end of the Earth as we know it. Tickets to this Death of Classical event include a reception with drinks. The ridiculously apt venue? Underground tombs at Green Wood Cemetery in Brooklyn.
Grounded at the Metropolitan Opera (September 23–October 12)
Jeanine Tesori (Kimberly Akimbo) is more familiar to Broadway fans than opera goers, but she’s been going back and forth for years. Now the composer makes her Metropolitan Opera debut with a contemporary military tale.........