The New York Times – Music:
It’s not stage-filling spectacle, but Barrie Kosky’s version of Wagner’s “Das Rheingold,” the start of a four-opera epic, is eerie, vivid and intense.
Author: Zachary Woolfe
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Salzburg Festival Remains a Crammed Summer Stage
The New York Times – Music:
No other festival matches the sheer profusion of classical music, opera and theater offerings at the Salzburg Festival.
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At Bayreuth, the Work on Wagner’s Operas Is Never Done
The New York Times – Music:
At the festival that Wagner founded, a new “Parsifal” looks different depending on how you see it, and a workshop model refreshes revivals.
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Has Scott Joplin’s ‘Thoroughly American’ Opera ‘Treemonisha’ Found Its Moment?
The New York Times – Music:
“Treemonisha” — brilliant, flawed and unfinished — is ripe for creative reimagining at a time when opera houses are looking to diversify the canon.
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Wagner’s ‘Parsifal’ at the Bayreuth Festival Experiments With AR
The New York Times – Music:
Cutting-edge technology has again come to the Bayreuth Festival, where Wagner premiered his final opera with the latest stagecraft in 1882.
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Review: Ted Hearne’s ‘Farming’ Is a Sweet, Sad American Elegy
The New York Times – Music:
“Farming,” a choral work that had its New York premiere at Caramoor, is a chaotically ambitious reflection on colonization, consumption and marketing.
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Inside the Shed’s Sonic Sphere
The New York Times – Music:
A hanging concert hall at the Shed in Manhattan purports to offer something “experimental, experiential and communal.” Our critic climbs the stairs.
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Review: A Composer’s ‘Lear’ Freshens a Shakespeare Evening
The New York Times – Music:
The Met Orchestra’s season-ending concert at Carnegie Hall featured the premiere of Matthew Aucoin’s “Heath (‘King Lear’ Sketches).”