“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 Benjamín Naishtat’s “Rojo.” {…}
“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 Sofia Coppola’s “Marie {…}
Nic McGegan and Philharmonia Baroque Orchestra (PBO) have accomplished a plethora of amazing experiences together. McGegan, who has been the music director of the orchestra, since 1985, has made numerous recordings with the organization, particularly of early works including Handel’s “Messiah,” “Dido and Aeneas,” and the concertos of Corelli, among many others. But McGegan and his orchestra may have topped {…}
One thing I can say, with assurance, about the newly revived New York City Opera’s programming is…that it is anything but the expected. Productions such as the recent “Delores Claiborne” and “Cruzar la Cara de la Luna,” all reviewed by me for Operawire, could not have been more different. But they all share an excitement and vision that is breathing new, creative {…}
