|Filed Under:||Music / Classical|
|Posts on Regator:||409|
|Posts / Week:||1.5|
|Archived Since:||April 20, 2011|
“And After the Fire,” by Lauren Belfer, shows the Achilles’ heel of a great composer
At Victory Hall Opera, singers push the envelope and forge the careers they want.
Rio’s modest budget yielded a more artistic opening ceremony than the whiz-bang norm.
“Why You Love Music” shows that music as a commodity is alive and well.
Stephen Sondheim announces that his anticipated next musical will open in 2017.
Glimmerglass spotlights opera-musical divide with operatic musical, weak opera.
An overambitious reimagining of Stravinsky’s ballet is only partly successful.
Local musical highlights have included “Magic Flute,” the pianist Ji, and a controversial NSO review.
My joint review/debate with Greg Sandow about “War Requiem” prompts us to solicit other opinions.
Conflict of interest prevents critic from reviewing “Lost Childhood” opera -- what did you think of the show?
Highlights of DC’s classical concerts from the past week: Chris Thile on mandolin, Cappella Romana sings
Amira Willighagen, 9, is new viral sensation; same aria won renown for 10-year-old Jackie Evancho
The second cast of “Force of Destiny” at the Washington National Opera was miles better than the first.
Nico Muhly’s new internet opera “Two Boys” at the Met tries to touch all bases, but fails to touch the heart.
The new tour now at the Kennedy Center is an exuberant memorial to the decline of taste.
An enchanting rarity at Wolf Trap, “L’Opera Seria” spoofs the art form, and is very funny.
Company directors discuss the lasting effects of the Met’s broadcasts.
Technology chronicles performances, but may cut into audiences paying for the real thing.
If stars and popular programming can’t draw crowds to an orchestra concert, what can?
A Phillips Collection exhibit does the artist justice, for better and worse.