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Antigoni Gaitana

Antigoni Gaitana
contributor

Martin Sherman’s “Rose” in Athens

She is in her eighties when we meet her and shares with the audience the story of her life which began in a tiny Russian village, took her to Warsaw’s ghettos and a ship called The Exodus, and finally to the boardwalks of Atlantic City, the Arizona canyons and salsa-flavored nights in Miami beach.

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The Great Tamer – A Greek Choreographer’s Bam Debut

It was a devouring mouth or a generative source. The whole performance was a dystopian collage of subconscious associations of the creator. Some of them were personal and some of them were direct references to archetypes and well-known artworks. The non-verbal narrative was constituted by very inventive imagery which was underlined by an ever-present black humor.

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American Lyric Theater: 10 Years of Nurturing the Future of Opera

I’m not particularly interested in an opera written for three vacuum cleaners featuring a punk-singer with no discernable plot. I’m not saying that type of work is not a legitimate form of musical-theatrical expression, but that isn’t what excites me about the potential of opera. I don’t think we have to revolt against opera’s history to define its future. Quite the contrary – I’m excited to see how artists BUILD upon opera’s history to create a vibrant future.

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April 2020
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