US opera company
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- United States of America
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2024-04-23
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2016-03-16 16:34:12
Because she’s happy
[…] present La Gioconda (to be fair, they haven’t got the singers to do it justice, the old-fashioned, gutsy “I’ll get that high note if I burst a blood vessel to do it” kind, have they?), we, the true opera lovers, miss it. Handel is good, Cavalli is talented and Glass is promising, but they aren’t Ponchielli. This situation should affront anyone devoted to Parterre Box and its doyenne, the second Mrs. Tanqu—I mean, La Cieca. Opera Company of Brooklyn which, its name notwithstanding, operates in the northwesternmost corner of Manhattan, came to the rescue last Saturday night. OCB performs in a large living room, on-book with piano accompaniment but no sets or costumes—or props, and props are so important in La Gioconda: poisons, masks, rosaries, daggers. The singers get two rehearsals plus a few coaching sessions and the right to say they’ve sung the role, whatever role it is, on […]
2015-11-09 16:00:28
“If there is no struggle, there is no progress”
In New York, tradition insists, there are no limits to where a preposterous idea, talent and relentless determination will take you, in defiance of all the odds. parterre box is a case in point. The Opera Company of Brooklyn is another. You’ve seen the ads. The Opera Company of Brooklyn (hereinafter OCB) plans to host some 200 different operas in the space of three years, aiming for a berth in Guinness. The list of operas—alas, until well into 2017, they have only scheduled works I’ve already heard somewhere or other—is certainly ambitious. There had to be a gimmick, so I trundled off to the scene of the crime to check it out, deerstalker on head, magnifier in hand. The work I chose from their extensive list was Stravinsky’s The Rake’s Progress, in part because it seems so very unlikely a choice of opera for so unoperaphile an audience. Not much […]
2014-02-20 14:00:24
Good fencing makes good neighbors
Tonight, Opera Company of Brooklyn celebrates Black Awareness Month with a special presentation featuring the work of Afro-French composer and conductor, Joseph de Boulogne, the Chevalier de Saint-George. Active in the Royal Courts of eighteenth century France, Saint-George was passed up as the leader of the Paris Opera for reasons of race discrimination; however he remained active in aristocratic circles, including serving in the court of Marie-Antoinette at Versailles. Saint-George’s other passion, fencing, gave him recognition not only in France but also an audience with the British Royal Family.
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