Theatre and Opera Archives - Page 2 of 10

Four Years Later: “The Astronaut’s Tale”

Posted by Marcina Zaccaria | 15th Oct 2020 | New York, Review, Theatre and Opera, United States of America

How do we continue forward without the great opera houses open? It is an extraordinary moment for...

As COVID Wreaks Havoc in the Performing Arts, Do We Still Need a National Opera Company?

Posted by Peter Tregear | 6th Oct 2020 | Australia, Covid-19, Theatre and Opera

Anyone looking for evidence of just how devastating the COVID-19 pandemic has been to Australia’s...

“Breaking Glass” Review: Sydney Chamber Opera Livestreams Premiere

Posted by Melanie Walters | 6th May 2020 | Australia, News, Sydney, Theatre and Gender, Theatre and Opera

There are very few silver linings that have developed from the current catastrophic health crisis,...

A Celebration of Love, Nature, and German Lied with 92Y

Posted by Megan McCormick | 20th Apr 2020 | New York, Review, Theatre and Opera, United States of America

On February 13th, 2020, 92Y celebrated German Lied with Beethoven and Schumann song cycles...

Forbidden Longings: Two Operatic Premieres at Mariinsky Theatre, St Petersburg

Posted by Yulia Savikovskaya | 21st Mar 2020 | Review, Russia, Theatre and Opera

Two productions, both under musical direction of Valery Gergiev, were put on at Mariinsky Theatre...

Space Opera in New York City

Posted by Marcina Zaccaria | 10th Feb 2020 | New York, Review, Theatre and Opera, United States of America

With a smattering of words, carefully grouped to alert the scholar that collectivism and...

“Ellen West” at The Prototype Festival

Posted by Abigail Weil | 26th Jan 2020 | Adaptation, New York, Prototype 2020, Review, Theatre and Opera, United States of America

Two embarrassing conditions unsettled me at the top of Ellen West, the new opera by Ricky Ian...

Big Bolshoi: How the Theatre Got Its Name

Posted by Oleg Yegorov | 18th Jan 2020 | News, Russia, Theatre and Opera

The Moscow-located Bolshoi theatre quite literally translates to “Big” Theatre. And...

“Magdalene” at Prototype Festival

Posted by Abigail Weil | 16th Jan 2020 | Dramaturgy, New York, Prototype 2020, Review, Theatre and Gender, Theatre and Opera, Theatre and Religion, United States of America

What are the first words you think of when you hear the name Mary Magdalene? Prostitute? Saved?...

The Dramaturgy of “The Banquet at elBulli”

Posted by Clement Lee | 6th Jan 2020 | Adaptation, Dramaturgy, Essay, Hong Kong, Theatre and Opera

This excerpt of the article is originally written in Chinese by the author. Full article will be...

“Orpheus and Eurydice:” A Bold Reimagining Through Circus and Opera

Posted by Alastair Blanshard | 30th Dec 2019 | Australia, Review, Theatre and Opera

Orpheus and Eurydice, directed by Yaron Lifschitz, Queensland Performing Arts Centre. The story of...

Crossing Genres and Tapping on the Subconscious: Treats of Helsinki Festival 2019

Posted by Yulia Savikovskaya | 1st Dec 2019 | Finland, Review, Theatre and Opera

Just as the first signs of autumn begin to take over the glorious summer (shorter sunsets,...

The Great Tamer – A Greek Choreographer’s Bam Debut

Posted by Antigoni Gaitana | 23rd Nov 2019 | Greece, New York, Review, Theatre and Opera, United States of America

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.