“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).
As an opera where a colossal snake and enchanted instrument play a pivotal role, perhaps it’s no surprise Mozart’s The Magic Flute inspired some fantastic set and costume designs since its debut in 1791.
“Maybe there’s a physicist sitting right beside you, who can explain this better than we do, but we’re in the business of art, so we’ll make a metaphor,” sings Hai-Ting Chinn in Science Fair: An Opera With Experiments.
The opera Angel’s Bone, having its world premiere at the Prototype festival, opens with a married woman fantasizing about telling her husband that she doesn’t love him.
TORONTO — What do you get when you pair the work of a living composer with that of one from the 17th century?
“White people have always slipped in and out of the experiences of people of color and been praised extravagantly for it,” Jenny Zhang, the poet and Rookie magazine contributor, wrote in an article for BuzzFeed about the erasure of Asian American narratives in Western culture.
Inevitably, the history of Black American opera chronicles not just perseverance and accomplishment, but also racism and exclusion.
A movie set amongst the machines of CERN, the world’s largest particle physics facility, considers how both art and science strive to understand the universe, and what it is to be human.
The L train was out of order and the night was freezing, but that didn’t stop a crowd from packing into a Bushwick warehouse earlier this month for the last weekend of Puccini’s La Bohème, staged by the Brooklyn-based LoftOpera.
LOS ANGELES — A train station is an apt location to tell stories of journeys to lands unknown, particularly when the storytelling method is as unconventional and frontier-pushing as the one deployed in Invisible Cities.
The quick burn of celebrity has rarely been as spectacular as in the rise and fall of Anna Nicole Smith. “She blazed like a comet, as in a shiny thing in the skies, that hangs around a bit, then suddenly dies, ” as the chorus of newscasters intones in the Anna Nicole opera that just ended its raunchy run at the Brooklyn Academy of Music.
Have you ever met a Minotaur, believed you could draw with your voice, try to cut out your voice box, spoken to demons on the phone, or taken a few too many shrooms? Perhaps not, but you can experience all of the above at I am an Opera, a satirical one-person musical show written, composed, and performed by Joseph Keckler, who was awarded a month-long residency that premiered at Dixon Place on New York City’s Lower East Side for the month of April.