At The Clark, joy, loud and rocking, from ‘Rome is Falling’
August 12, 2024
… it cemented its
effervescent, locomotive score and highlighted the creative genius of
Balliett’s truly omnivorous talent.
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… it cemented its
effervescent, locomotive score and highlighted the creative genius of
Balliett’s truly omnivorous talent.
“It’s going to be fun, it’s going to be loud, and you’re going to love it.”
If what the world needs is love, “Comet / Poppea” proposes that love needs dialogue on more levels than anything else on stage right now. All aspects of the production
It’s a burst of imagination and creativity in an art form often governed by rigid and elitist conventions. Translating DuBois’s words into opera is a radical feat in itself.
The two constituent scores found moments of synthesis, analysis, and genuine play in counterpoint, helped along by Douglas Kearney’s ingenious blended libretto…[George Lewis’s] music is taut as ever, inserting itself
Director Yuval Sharon, Founder and Co-Artistic Director of The Industry [Sweet Land, Invisible Cities Hopscotch], never shies away from making bold choices. Certainly his desire to find a way to
“The Comet / Poppea” radically pares down a classic and blends it with a premiere by George E. Lewis for an original show that will travel widely.
What do 17th century Italian composer Claudio Monteverdi and 20th century writer and civil rights activist W.E.B. Du Bois have in common? Aspects of their work have been juxtaposed in
“Zarabanda Variations” is a work in motion, emerging, expanding and deepening with each performance. The project is conceived and led by Scottish-born, U.S.-raised GoGwilt, member of American Modern Opera Company
The composer Matthew Aucoin, Graham’s former student, and the director Peter Sellars have adapted her poems into the operatic “Music for New Bodies.”
… it cemented its
effervescent, locomotive score and highlighted the creative genius of
Balliett’s truly omnivorous talent.
“It’s going to be fun, it’s going to be loud, and you’re going to love it.”
If what the world needs is love, “Comet / Poppea” proposes that love needs dialogue on more levels than anything else on stage right now. All aspects of the production
It’s a burst of imagination and creativity in an art form often governed by rigid and elitist conventions. Translating DuBois’s words into opera is a radical feat in itself.
The two constituent scores found moments of synthesis, analysis, and genuine play in counterpoint, helped along by Douglas Kearney’s ingenious blended libretto…[George Lewis’s] music is taut as ever, inserting itself
Director Yuval Sharon, Founder and Co-Artistic Director of The Industry [Sweet Land, Invisible Cities Hopscotch], never shies away from making bold choices. Certainly his desire to find a way to
“The Comet / Poppea” radically pares down a classic and blends it with a premiere by George E. Lewis for an original show that will travel widely.
What do 17th century Italian composer Claudio Monteverdi and 20th century writer and civil rights activist W.E.B. Du Bois have in common? Aspects of their work have been juxtaposed in
“Zarabanda Variations” is a work in motion, emerging, expanding and deepening with each performance. The project is conceived and led by Scottish-born, U.S.-raised GoGwilt, member of American Modern Opera Company
The composer Matthew Aucoin, Graham’s former student, and the director Peter Sellars have adapted her poems into the operatic “Music for New Bodies.”
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