Day: May 11, 2018

The Cambridge Chamber Ensemble’s “Cendrillon” Showcases Talent But Misses Its Mark

The Cambridge Chamber Ensemble debuted their reimagined production of Pauline Viardot-Garcia’s hidden gem Cendrillon at Warehouse XI in Union Square Friday night to a full house. In only its second season, the Cambridge Chamber Ensemble is committed to presenting underperformed works that deserve attention. Pauline Viardot-Garcia’s chamber operetta was an excellent choice. Delivering on this promise to celebrate little-known artists, only the composer’s bio was included in the program. A brilliant female composer, Viardot-Garcia premiered Cendrillon at the age of 83 and her work is only now being rediscovered after over a century. The salon opera with a cast...

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Composer-in-Residence Clint Borzoni

My current collaborator, John de los Santos, approached me about Adonis after I had just finished the first orchestral reading of my first full length opera, Antinous and Hadrian, which was originally conceived of in the American Opera Projects Composer and the Voice Series and later commissioned by Operamission.  John told me he had this libretto that he had constructed based on select poetry by American poet, Gavin Dillard.  I asked “what are we composing this for?” to which John replied, “I don’t know.”  But, it was his initial passion, and he came up with the concept to create this new form of opera.  However, this piece, at first, was a stretch for me as a composer.

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Angels (And Demons) Of History In EgoPo’s “Lydie Breeze” Trilogy

Jessica Rizzo sees the 10-hour, marathon performance of EgoPo Theater’s Lydie Breeze trilogy and says it’s worth spending the time with John Guare’s flawed Civil War-era characters, whose tragedies, loves, jealousies, and losses are humanly relatable. The sets get a shout out as bringing the action to life, as does the atmospheric music. and Guare’s vision, rooted in the past, seems oddly relevant today. The three play marathon is a monumental accomplishment, says Rizzo. The last performance is Sunday, May 6, 2018. Philadelphia’s EgoPo Classic Theater has given John Guare’s sprawling Lydie Breeze trilogy an excellent first production as a single,...

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Electra Takes Revenge into Her Own Hands

In Han Tae-sook’s Electra (LG Arts Center, April 26–May 5, 2018), the mourning daughter doesn’t sit around waiting for her brother to take revenge. Wearing short hair, combat boots, and a pistol at her hip, this Electra (Jang Young-nam) leads a rebel army against the usurper Aigistheus (Park Wan-gyu). She holds her mother Clytemnestra (Seo Yi-sook) prisoner in an underground bunker while her soldiers prepare extreme measures—a biochemical bomb strapped to a suicide vest—to win the war at any cost. Like Sophocles’ drama, however, revenge and justice run along parallel tracks, never to converge. Han’s latest project resembles her...

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The Problem Of The Unmarried Woman In “Old, New, Borrowed, Blue”

Metrowest Opera had a full audience in the BCA’s smaller space on Saturday evening for their double act of Miss Havisham’s Wedding Night, and The Beautiful Bridegroom, which they titled Old, New, Borrowed, Blue. Though seemingly disparate pieces thematically and certainly musically, the two pieces worked with the thread of the “unmarried woman” in each and certainly both pieces, written in the 20th and 21st centuries respectively, contain borrowed source material. After the voyeuristic feeling and emotional intensity of Argento’s musically avant-garde Miss Havisham, Dan Shore’s more tonal and comedic Bridegroom was like a lovely dessert with which to...

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