Reviewed by Sherri Strichman
Last night (Feb. 17) Tri-Cities Opera-goers were treated to seemingly unconnected works, written by two seemingly unconnected composers from the late 19th and early 20th centuries. The result was a well-received double bill, brilliantly conceived, produced and performed.
The first half of the evening was devoted to the cabaret songs, or Brettl-Lieder, of Arnold Schoenberg. For those who are panic-stricken by the composer’s very name, fear not. These are from his late romantic period, before he went all 12-tonal. They are beautifully lyrical pieces...
Reviewed by Tony Villecco
Tri-Cities Opera has offered up a delicious concoction in the popular opera based on the Brothers Grimm fairy tale Hansel and Gretel. Engelbert Humperdinck's opera has been enchanting adults and children alike since 1893, and TCO's production, which opened Friday (Nov. 11) did not disappoint.
A small chamber orchestra led by conductor Vlad Iftinca plied out the score with accuracy and a spirited flow that kept the action moving on the stage of the Opera Center's Savoca Hibbitt Hall. The story of two misbehaving children...
Editor's note: A BAMirror reviewer was unable to attend Hamlet. Fortunately, BCAC Executive Director Laura Knochen-Davis was in the audience during opening weekend (April 29-May 1).
By Laura Knochen-Davis
“To thine own self be true” is one of many familiar lines from William Shakespeare’s Hamlet, being performed through Sunday (May 8) in Watters Theater at Binghamton University. That may have been a guiding principle for director Anne Brady, who decided to utilize an imagined contemporary Denmark with costumes and weapons that the audience could relate to in...
Reviewed by Tony Villecco
Peter Ilitsch Tchaikovsky’s one-act opera, Iolanta, proved a sure-fire hit at its Binghamton premiere Thursday evening (Nov. 12) at the newly named Savoca Hibbitt Hall at the Tri-Cities Opera Center in Binghamton. Once again becoming a staple in regional houses, Iolanta was featured at the Metropolitan Opera for the first time earlier this year.
As expected, the moving score did not let up for a minute, no doubt reflecting, in part, some of Tchaikovsky’s own deeply personal pain and his exuberance, as well. Originally intended...
Reviewed by George Basler
Pity poor Sidney Bruhl, the main character in Ira Levin's Deathtrap. After four straight flops, the once successful playwright has become a burnt-out case whose talent has long grown cold and stale.
Alas, based on the Cider Mill Playhouse’s production, which opened this past weekend, the same can be said about Deathtrap itself. While the play may have seemed fresh and shocking when it opened on Broadway in 1978, it has aged badly and now seems as fresh as day-old bread.
The five cast...