The Santa Fe Opera's top laurels for the 2013 season were not necessarily won by its most anticipated productions. Of the five works staged, three were fashioned around star singers -- a world premiere tragedy, an Offenbach farce and a rarely performed late work of Rossini.
We're in a liberated America, but the point of the play is to expose the frequent clash between instinct and intellect as women enjoy the fruits of modernity while dealing with men who rarely conform to the supposed advances of a post-feminist America.
The July 27 premiere of Oscar at the Santa Fe Opera aimed for catharsis. With its stellar cast, elaborate sets and massive orchestra, Theodore Morrison's opera, was both a brave and uncannily apt commission for the company. At least it seemed so on paper.
Operas and movies are like opposites that attract but can rarely live together. New movies, like old operas, get the big houses. New operas, like old movies, get the small houses. Got that? The LA Opera did.
As Americans eagerly await decisions within weeks from the Supreme Court on the right of gays and lesbians to marry, the Santa Fe Opera brings Wilde's relevant and tragic story to the stage in Oscar, a new opera.
The Old West has become the New West, but for a few moments last Monday evening, Michael Martin Murphey, Philip Daughtry and the evening's artists at the Autry National Center helped us remember how and why we all ended up here.
Andres stated earlier he hoped people wouldn't think he intentionally "gave the finger" to Mozart. But he needn't worry. The exercise came off more like a good-natured, thumb-nosing tribute to the irreverent genius from Salzburg.
The listener can use Cohn's extra-musical titles as aural guides or listen solely to the unfolding musical developments. It is this dual quality of abstract and concrete that makes Cohn's music interesting on so many levels.
Franz Liszt's lifelong quest for creative and spiritual growth straddled three musical epochs. Once the lion-king of musical Europe, Liszt ironically enters his bicentenary as something of a lamb to contemporary audiences.
If symphony orchestras are lumbering, soon-to-be-extinct dinosaurs, as some of their critics claim, then today's chamber ensembles are their evolved, fleet-winged descendants that may yet survive music's Jurassic Age.
When Richard Wagner, a brash young composer of then little distinction, attended one of the first performances of Hector Berlioz's Roméo et Juliette symphony in the Paris of 1839, he was knocked off his feet.