Opera Meets Film: How Kurosawa Defines Character in ‘One Wonderful Sunday’ Using An Excerpt from Bizet’s ‘Carmen’

“Opera Meets Film is a feature dedicated to exploring the way that opera has been employed in cinema. We will hone in on a selection or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perceptions of a film that we are viewing. This week’s installment features Akira Kurosawa’s {…}

Opera Meets Film: How the Murder’s Portrayal Alters the Emotional Impact of Both Versions of ‘Dead Man Walking’

(Credit Javier del Real / Gramercy Pictures) “Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features “Dead Man Walking.” Over the last few years, Jake Heggie and Terrence McNally’s “Dead Man Walking” has become a major staple of the international opera repertory, one of the few 21st century operas to really own such a valuable distinction. And it isn’t hard to see why. Based on a true story, the {…}

Opera Meets Film: The Ambiguous Thematic Use of ‘La Traviata’ in Rainer Werner Fassbinder’s ‘The Bitter Tears of Petra von Kant’

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Rainer Werner Fassbinder’s {…}

Opera Meets Film: How the ‘Così Fan Tutte’ Moment in ‘The Greatest Showman’ Is Emblematic of Film’s Structure

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features “The Greatest Showman.” {…}