From a monologue on death to a story about a police shootout, Opera Philadelphia’s productions showed us the many things opera can be.
The famed children’s book author and artist considered the theater his “second career.” An evening talk and live performance will explore his font of creativity.
Despite a gorgeous, impressively conducted score, David Lang’s prisoner of the state felt overstuffed, unsatisfying, and contradictory.
Rather than sticking to a literalistic depiction of the woods of Fairyland, Robert Carsen sets his adaptation of A Midsummer Night’s Dream in a more symbolic land of beds.
The canonical work of feminist art served as inspiration for 11 mini-operas written, composed, developed, and designed by NYU students.
In Written on Skin, currently playing at Opera Philadelphia, an illuminated manuscript artist gets involved with his patron’s wife.
The Metropolitan Opera’s lone contemporary production this season is an adaptation of Buñuel’s 1962 film about the Spanish aristocracy, The Exterminating Angel.
On Site Opera’s Rhoda and the Fossil Hunt in the dinosaur hall of the American Museum of Natural History explores the paleoart of Charles Knight.
An anatomical theater and its dissected murderess are the subjects of a bloody opera on the physical nature of evil.
L’Amour de Loin, by the Finnish composer Kaija Saariaho, receives a dazzling production that sets the self-aware tale of unrequited love on a flickering sea of LED lights.
Musically and visually, the Metropolitan Opera’s first staging of Gioachino Rossini’s Guillaume Tell in over 80 years is a tremendous success.
“When we meet the very best, we have to give up,” baritone Rod Gilfry intoned in The Loser, composer David Lang’s one-act opera that debuted last week at the Brooklyn Academy of Music (BAM).