Like Leonard Bernstein himself, there is absolutely nothing predictable about the music he wrote. None of the three amazing works Bernstein labeled as "symphonies" in any way resemble a conventional orchestral symphony.
This week's artune is ripped from the headlines. More controversy for Russia and its official position on homosexuality: A new government-funded film — and its government funders — deny that Tchaikovsky was gay.
Originally published on Fri September 20, 2013 10:06 am
Jessye Norman's commanding soprano voice makes her the quintessential operatic diva for many listeners. But she frequently draws inspirations from jazz: She ranks singers like Billie Holiday, Mabel Mercer and Sarah Vaughan high on her list of influences.
Originally published on Fri September 20, 2013 11:02 am
When you hear the name of guitarist and composer Bryce Dessner, you wouldn't be wrong to think immediately of hugely acclaimed indie-rock outfit The National. But he's also a stalwart of the new music scene.
Pamela Armstrong (left) as Alice Ford and Heather Johnson as Meg Page in New York City Opera's production of <em>Falstaff. </em>The so called people's opera may have to cancel its upcoming season if fundraising falls short.<em></em>
Credit Carol Rosegg / New York City Opera
The U.S. premiere of<em> Anna Nicole </em>is set to open at the Brooklyn Academy of Music — BAM — on Sept. 17. Above, a 2011 performance of <em>Anna Nicole</em> at the Royal Opera House in London.
There are a lot of operas that end with heroines on their deathbeds, singing one glorious aria before they die. That's what happens at the end of Anna Nicole, the controversial new work that New York City Opera is presenting at the Brooklyn Academy of Music in September. But the company's artistic director and general manager, George Steel, says it could also be City Opera's last gasp.