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Stage Reviews

Mostly Mozart Festival Orchestra 2022 Review: Jeanine De Bique in Concert

https://operawire.com/mostly-mozart-festival-2022-review-jeanine-de-bique-in-concert/

Photos by: Sachyn Mital, © Lincoln Center Jeanine De Bique is one of the most exciting sopranos to catch onstage these days. Animated, joyful, and technically flawless, the Trinidadian vocalist with the light, starry voice that soars before landing on audiences’ ears like a musical meteor shower. While De Bique does staged productions, she throughly enjoys singing in concert format. {…}

News

Lawrence Brownlee, Julia Bullock, Renée Fleming Headline Reimagined Mostly Mozart Festival Season

https://operawire.com/lawrence-brownlee-julia-bullock-renee-fleming-headline-reimagined-mostly-mozart-festival-season/

Lincoln Center’s Mostly Mozart Festival has announced a new partnership with WQXR to broadcast this year’s reimagined season of performances, running from August 10 -16, 2020. The Opening Night Mashup will kick off the festival with a program featuring Mozart’s “Requiem” and Estonian composer Arvo Part’s “Te Deum,” meant to set the tone for this year’s season of connection and {…}

News

Mostly Mozart Festival Cancels 2020 Season

https://operawire.com/mostly-mozart-festival-cancels-2020-season/

Mostly Mozart Festival has canceled its 2020 season. The festival, which was scheduled to be held from July 14 through August 8, released a press statement noting, “Given the impact of the COVID-19 pandemic, we have made the difficult decision to cancel this summer’s Mostly Mozart Festival.” The festival cancellation was part of Lincoln Center’s summer programming which also included Midsummer {…}

Reviews, Stage Reviews

Mostly Mozart Festival 2019 Review: Soprano Jeanine De Bique & Budapest Festival Orchestra

https://operawire.com/mostly-mozart-festival-2019-review-soprano-jeanine-de-bique-budapest-festival-orchestra/

(Photo Credit: Kevin Yatarola) On August 4, 2019, the Budapest Festival Orchestra brought their talents to David Geffen Hall for an exciting program of works by Handel, Haydn, and Mozart. Joining conductor Ivan Fischer and the orchestra was Trinidadian soprano Jeanine De Bique, making her debut performance with the Mostly Mozart Festival in spectacular fashion. First, Haydn Starting the evening’s {…}

Reviews, Stage Reviews

Mostly Mozart Festival 2019 Review: The Black Clown

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(Photo Credit: Richard Termine) July 24, 2019, saw the New York premiere of “The Black Clown,” a new work adapted from the Langston Hughes poem of the same name, with music by Michael Schachter and directed by Zack Winokur. Exploring the struggles of the African-American experience, this powerful work blends opera with the styles of gospel, vaudeville, and jazz, allowing {…}

News

Mostly Mozart Festival Music Director Louis Langrée’s Contract Extended

https://operawire.com/mostly-mozart-festival-music-director-louis-langrees-contract-extended/

(credit A. J. Waltz) Ehrenkranz Artistic Director Jane Moss made the announcement on Jul. 16, 2019 that Lincoln Center has extended Renée and Robert Belfer Music Director Louis Langrée’s contract through 2023. Langrée stepped up as Music Director of the Mostly Mozart Festival in 2003. He made his Mostly Mozart debut five year earlier, conducting the orchestra for the first {…}

News

Barrie Kosky’s ‘Magic Flute’ Headlines Mostly Mozart Festival 2019

https://operawire.com/barrie-koskys-magic-flute-headlines-mostly-mozart-festival-2019/

The Mostly Mozart Festival has announced its 2019 festival, which is set to feature a number of stage productions, contemporary concerts and some of the world’s greatest musicians. For this article we will focus mainly on vocal events and opera. \ Opera  The operatic selection for the Mostly Mozart festival is set to include Barrie Kosky and Suzanne Andrade’s production of {…}

Reviews, Stage Reviews

Mostly Mozart Festival 2018 Review – Ninagawa Macbeth

https://operawire.com/mostly-mozart-festival-2018-review-ninagawa-macbeth/

Setting the timeless tragedy of Shakespeare’s “Macbeth” within Japan’s Azuchi-Momoyama period, ranging from 1568 to 1600 A.D., director Yukio Ninagawa takes drama and staging to new levels in this utterly beautiful production. On adapting the famous work, the late Ninagawa writes: “The tradition of Japanese theater enables us to make a leap in certain ways. Normally, it is difficult to {…}