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Gabrielle FerrariObserver |
It was a good week for fans of Russian song.
It’s easy, in an art gallery, to cede the context of sounds to an artist; in your home, personal association is inevitable because the context is...
It’s been over a decade since Leoš Janáček’s mass last appeared at Carnegie Hall.
Die Frau ohne Schatten begins after happily-ever-after and ends as another ever-after begins—essentially, it’s an opera about the beginning of a...
Deborah Colker’s production has a deft and beautiful visual poetry, pouring moving bodies and striking vignettes into the spaces around the...
Even when you know where this story is going, the opera drags you into its undertow.
The drill hall at the Park Avenue Armory can feel gloomy and imposing but in Indra’s Net, the latest full-length work from Meredith Monk, that...
Listen to the chirps of cicadas long enough, and you might begin to impose your own music onto theirs, infusing it with the mysterious rhythm of the...
A decade after it was commissioned, composer Janine Tesori's story of surveillance, guilt and motherhood has finally landed.
Under the direction of founder Andrew Ousley, Death of Classical has enjoyed a fruitful partnership with the Green-Wood Cemetery, presenting...
Much of this production feels like an inside joke, one perhaps aimed at singers and opera superfans.
‘Well, wasn’t that just delightful?’ is seldom the response to the typically tragic tale of Orpheus and Eurydice. It’s a sad song usually, but...
John Adams’ other operas are about history, twentieth-century history to be more exact, and the men at the center of explosive, polarizing events:...
Heartbeat Opera, known for their innovative and often provocative restagings of opera classics, celebrated their company’s tenth season with their...
Puccini started La Rondine the year before the First World War broke out. By the time he finished in 1916, Italy had not only entered the war but...
It feels like a Disney version of history, trafficking entirely in musical, poetic and dramatic clichés.
The late James Jorden, Observer’s opera critic from 2014 through 2021, once wrote: “Season after season, PROTOTYPE introduces to New York pieces...
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