Without its companion pieced, Trouble in Tahiti, this difficult late work feels like half of an opera.
A terrific evening of music and theater, and a thrilling affirmation of a magnificent work.
But why isn’t there more light and clarity in this moody but muddy work about illuminated manuscripts?
This chamber-sized production offers some large-scale musical pleasures.
Conductor Cristian Macelaru’s middle-of-the-road approach has glorious moments, but doesn’t quite cohere dramatically.
Picks for things to see and hear from now through February, including EgoPo’s Lydie Breeze.
Despite exquisite moments, the Curtis production feels drained of emotional energy.
David Hertzberg’s opera is dramatically pretentious, musically gorgeous, and very much An Event.
A sometimes-awkward evening that delivers in Lembit Beecher’s one-act premiere opera.
One of today’s top divas provided glamour and high-wattage vocalism.