Music
Opera in the Garden by the ON SITE OPERA
NEW YORK – Opera in the Garden by the ON SITE OPERA, an artistic, musical triumph in a delightful natural setting in an intimate neighborhood park.
Edward A Kliszus
NEW YORK – Opera in the Garden by the ON SITE OPERA, an artistic, musical triumph in a delightful natural setting in an intimate neighborhood park.
The On Site Opera production of Mozart’s The Magic Flute was a night of magical enchantment, charismatic strains, and sublime artistry. Moreover, the characters roamed about the garden and interacted with the audience, creating an intimate, immersive experience nearly impossible in a concert hall. With superb singing, a refined but effectual musical accompaniment of piano, and two accomplished flutists, listeners were transported to a mythical realm of captivating imagination and charm. The audience’s experience was transformative, transcending into the boundaries of reality through engagement in the rich tapestry of the opera’s narrative, characters, and music.
Soloists in the ON SITE Opera production of Puccini’s Il Tabarro were consistently marvelous and presented a thrilling performance of a seminal artwork with the support of a splendid chorus, orchestra, and production team. With fine sound, staging, and costumes rendered in a unique maritime setting, we extravagantly experienced the opera’s dramatic and emotional depth characterized through Puccini’s rich, evocative inventions. The performance was a memorable, compelling, and immersive experience.
This production of Iolanthe by MasterVoices at Carnegie Hall portrayed the essence of superlative artistry coupled with modern technological tools. Audience members were masterfully delivered full access to every quip, idiom, and reference intended by Gilbert and Sullivan. During the production, laughs, chuckles, cheers, and other affirmations continued. Applause occurred frequently, and the denouement was acknowledged through an extended standing ovation and multiple bows. The soloists, dancer, orchestra, costumes, choreography, and lighting were superb. Sperling’s conducting was masterful, precise, effective, and expressive.
Hamlet was not written for dance numbers but for murders. But there are ample opportunities for arias. The recent Macbeth version, directed by Sam Gold, added original songs to altered text. A full-length opera of Hamlet is ambitious.
The broad selection of musical works provided marvelous musical moments; artistry, vocal command, drama, and sheer choric beauty abounded.
In the Met’s Don Carlos we are in the time of the Inquisition at the peak of its ultramontane evil powers. We discover love’s immortality.
From the moment lights dimmed and the curtain raised, we saw Puccini’s vision of Madama Butterfly and entered his artistic world, thoroughly suspending our disbelief to participate in a story of sublime creative beauty, poignancy, and tragedy. Lyric soprano Eleonora Buratto’s breathtaking, sumptuous high Db filled the concert hall with rapturous, soaring grandeur.
The music of Ariadne Auf Naxos exemplified Strauss’ sumptuous instrumental colorings and is a remarkable tonal masterpiece.
In Intimate Apparel, author Lynn Nottage brings to life the struggles of African-American women who came to New York after Reconstruction.
