Some thoughts for “The Podium” on equity and diversity in current US opera and orchestral music:
Some thoughts for “OperaWire” on Pacific Opera Project’s “Madam Butterfly”, sung in the languages the characters would have spoken:
Some thoughts for OperaWire on two Stravinsky theater pieces:
My review for “Opera Wire” of Los Angeles Opera’s “Clemency of Titus” –
My review of Pacific Opera Project’s “Magic Flute” for “OperaWire” [photo: Martha Benedict] – Pacific Opera Project 2018-19 Review: The Magic Flute
‘ Even now, so many decades after the composers of the Second Viennese School were active, the music of Arnold Schoenberg (1874-1951) and his pupils Alban Berg (1885-1935), the creator of Wozzeck, and Anton von Webern (1883-1945) is difficult for many audiences to understand and not strikingly popular. The Twelve-Tone Technique which Schoenberg invented in […]
When it seemed that Wagner’s music-dramas were un-toppable, his one-time assistant Engelbert Humperdinck showed that the way forward lay in going back to folk-tunes and fairytales, a world delightfully captured in Richard Sparks’ new English translation of Adelheid Wette’s libretto. But for World War I, he might have ended up in Australia. These were among […]
I love explicit drama but I also love the perceptible processes of musical minimalism. These two emotions weighed on my mind as I reviewed LA Opera’s recent production of Philip Glass’s “Satyagraha” for OperaWire.
Dark and unremitting and politically astute, I think “Don Carlo” may be Verdi’s greatest opera. My review of LA Opera’s recent “Don Carlo” in OperaWire.
Musicologist critics of Puccini’s “Tosca” may be discounting its theatrical viability, as I argued in my article for San Francisco Opera’s August production.