The Scandinavia House is one of the most delightful destinations in NYC. Just cross-town from the touristy Times Square, it sits quietly, yet alluringly at 58 Park Avenue, offering a restaurant, gift shop and the relaxing, clean lines of Scandinavian design. But that is not all this cultural oasis has going for it.
Recent catastrophes like the lockouts in Minnesota and Atlanta at least brought to the fore questions about how to fund these organizations, what can be cut and what can't be cut, what one community can manage (rather than a cookie-cutter approach), what a community needs and thus will stretch for.
While formality is definitely the order of the day, showing up in a tuxedo or a ball gown isn't worth the inconvenience of traveling with a set of clothes you're not going to be wearing repeatedly.
It is always a special occasion when the Metropolitan Opera stages a premiere and its first production of Rossini's melodious and stirring La Donna del Lago boasts the exquisite Joyce DiDonato in the title role and Juan Diego Florez as the Scottish king who is captivated by her.
The quality of all ingredients was striking; the room deserved to be fuller, even on a dark, freezing February night.
In a way, artists are prepared to make excellent parents because they are used to finding creative solutions to financial hurdles, something most parents have to do many times in their child's lives, regardless of their occupation.
Everybody has at least one love affair he or she would like to forget. Hoffmann, the hapless poet hero of Les Contes d'Hoffmann, has four that haunt h...
It's not just the ballet companies that are producing "Nutcracker" either. In response to the work's popularity, companies presenting many other styles of dance have tried their hand at interpreting Tschaikovsky's 1892 score.
These has been a lot of ink about Cuba in the last few weeks ...about immigrants in rafts, Cuban doctors treating Ebola patients, the Summit of the Americas and of course, Lifting of the Embargo!
It is hard to imagine a merrier widow than Renee Fleming, and she swirls through the Metropolitan Opera's sumptuous new production of Franz Lehar's popular operetta The Merry Widow with the ease of a woman who knows what she wants and knows how to get it.
Along came Macbeth, an opera I'd never seen, and I had to go. As I settled into my seat, everything seemed comfortably the same. But as the house lights dimmed and the crystal chandeliers rose upward, my heart rose with them.
It's easy to get caught up in consumerism every Christmas, taking one dreaded day to slog through a sea of people in the malls and dig for that discount-priced trinket that won't embarrass you too much when the person you love tears open your lousy gift.
I've thoroughly enjoyed everything I've seen from SF Opera this season, and La Bohème, conducted by Giuseppe Finzi, was no exception.
Working under the radar for the past year, asset manager and former board member Roy Niederhoffer, after pledging $1 million of his own money and raising a total of over $2.5 million to date, has now won the right (pending court approval) to revive and reinvent the company we all thought had left us forever.
They own their offices and rehearsal space, and they seem to have a devoted and secure audience. Why would a company like that need to make such a dramatic change, I wondered.
It's a marvel to me that the moment I would consider the opera's most powerful -- indeed, the moment in which the underlying seriousness of this seemingly comic fluff reveals itself -- comes in silence.