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Waiting for new American opera
This week the Metropolitan Opera announced its 2015-16 season and for lovers of classic repertoire from Italy, France and Germany, the news was welcome: new productions of Verdi’s Otello, Alban Berg’s Lulu, Puccini’s Manon Lescaut, Strauss’s Elektra and more. The New Year’s Eve gala performance will be a new staging of Bizet’s Les Pêcheurs de Perles. The Met is bringing back several worthy directors, including Sirs Richard Eyre and David McVicar, Penny Woolcock and (most exciting for me) art-star William Kentridge (whose multimedia staging of Shostakovich’s The Nose was a high point of recent years).But for those looking for new American opera—or at least examples of our native output from the past decade or so—the lineup can be disappointing. Producers, conductors, singers and librettists (such as yours truly) took to social media to grumble about the lack of new titles this season. You could easily assemble a short list of great recent work that would fit on the Met’s mammoth stage: Jake Heggie’s Moby-Dick or Dead Man Walking; Kevin Puts and Mark Campbell’s Pulitzer Prize-winning Silent Night; some would like to see Daniel Catan’s Florencia en el Amazonas (1996) finally make it to the Met, as Nixon in China and The Death of Klinghoffer eventually did. There were plans to revive John Corigliano's 1991 “grand opera buffa” The Ghosts of Versailles at the Met in 2008, but they fell through. LA Opera just had a smashing success with it, with Darko Tresnjak directing.You can go f
Hedwig Sing-Along at SVA
Put on your biggest wig and chunkiest heels to rock out with the film