Stories by Alex Ross — BroadwayStars

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37 stories by "Alex Ross"

The Met’s Klinghoffer Problem by Alex Ross

The Met should have been better prepared for the outcry over a perennial source of controversy in the opera world.

SOURCE: The New Yorker Subscription at 12:31pm on June 25, 2014☆⚑

Alex Ross: The New York Philharmonic Biennial. by Alex Ross

The mission of the New York Philharmonic Biennial, whose inaugural edition overran several of the city’s concert halls in the last days of May and the first week of June, is a brave an…

SOURCE: The New Yorker Subscription at 12:00am on June 16, 2014☆⚑

Alex Ross: Master percussionist Steven Schick, at Miller Theatre. by Alex Ross

The master percussionist Steven Schick, who will present a two-night, one-man survey of his repertory this week at Miller Theatre, grew up on a farm near Clear Lake, Iowa. His earliest music…

SOURCE: The New Yorker Subscription at 12:00am on January 24, 2014☆⚑

Alex Ross: The Gotham Chamber Opera stages “Mahagonny Songspiel.” by Alex Ross

Lotte Lenya never forgot the moment when she felt the musical world shift. It was in the rarefied setting of the German Chamber Music Festival, in Baden-Baden in 1927. “Mahagonny Songs…

SOURCE: The New Yorker Subscription at 12:00am on October 18, 2013☆⚑

Alex Ross: “Anna Nicole” and “Eugene Onegin” reviews. by Alex Ross

An opera about the strange life and sad death of Anna Nicole Smith, the Playboy model turned reality-TV star, sounds like an expensive joke. Mark-Anthony Turnage’s “Anna Nicole,…

SOURCE: The New Yorker Subscription at 12:00am on September 30, 2013☆⚑

Alex Ross: Ira Aldridge, the pioneering black Shakespearean. by Alex Ross

In 1896, a thirty-six-year-old opera singer named Luranah Aldridge travelled to Germany to prepare for performances of Wagner’s “Ring of the Nibelung,” at the Bayreuth Fest…

SOURCE: The New Yorker Subscription at 12:00am on July 22, 2013☆⚑

Alex Ross: Shock tactics at the opera. by Alex Ross

This year, opera on the East Coast has taken a turn toward the lurid, the sordid, the subversive, and the cryptic—in short, toward theatrical values that are more commonly found on Eur…

SOURCE: The New Yorker Subscription at 12:00am on April 1, 2013☆⚑

Alex Ross: “Parsifal,” at the Metropolitan Opera. by Alex Ross

François Girard’s new staging of Wagner’s “Parsifal,” at the Metropolitan Opera, is nearly as inexplicable as the work itself. The Knights of the Grail, dressed …

SOURCE: The New Yorker Subscription at 12:00am on February 25, 2013☆⚑

Alex Ross: “The Tempest” and “Un Ballo in Maschera,” at the Met. by Alex Ross

The 2011-12 season at the Metropolitan Opera was among the least artistically successful in recent memory, with vast quantities of money and labor sucked into the black hole of Robert Lepage…

SOURCE: The New Yorker Subscription at 12:00am on November 26, 2012☆⚑

Alex Ross: Can the Kennedy Center find new life? by Alex Ross

Harry Truman, an amateur pianist who often brought miniature scores with him to classical performances in Washington, D.C., once wondered aloud why the capital lacked a decent venue for conc…

SOURCE: The New Yorker Subscription at 12:00am on March 26, 2012☆⚑

Alex Ross: The Met, City Opera, and the decline of opera in New York. by Alex Ross

Last fall, Peter Gelb, the general manager of the Metropolitan Opera, raised eyebrows on both sides of the Atlantic when he talked to the Times about the production history of Nico MuhlyR…

SOURCE: The New Yorker Subscription at 12:00am on March 5, 2012☆⚑

Alex Ross: “The Enchanted Island,” at the Met. by Alex Ross

"The Enchanted Island," a lavishly zany production now playing at the Met (it will be broadcast in the company's "Live in HD" series on Jan. 21), revives the concept of the Baroque p…

SOURCE: The New Yorker Subscription at 12:00am on January 16, 2012☆⚑

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