![The Comet/ Poppea by Dania Maxwell](https://runningamoc.org/wp-content/uploads/2024/06/Screenshot-2024-06-24-at-3.17.30 PM-300x185.png)
American opera needs ‘The Comet / Poppea.’ / LA TIMES
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
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.”
Costanzo will be a rare figure in classical music: an artist in his prime who is also working as an administrator.
Davóne Tines, who stars in the oratorio “El Niño,” is challenging traditions in classical music and using art to confront social problems.
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.”
Costanzo will be a rare figure in classical music: an artist in his prime who is also working as an administrator.
Davóne Tines, who stars in the oratorio “El Niño,” is challenging traditions in classical music and using art to confront social problems.
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