John Corigliano and William Hoffman’s opera “The Ghosts of Versailles” comes in three sizes.  According to Corigliano’s website, there’s the original Metropolitan Opera version from the 1991 debut, which boasted about 300 performers.  There’s the standard version (“eliminates the onstage orchestra by incorporating those parts into the regular pit orchestra, re-assigns roles played...

Robert Wood, founder of UrbanArias opera company, believes that new opera presented in smaller venues using nominal forces at reasonable ticket prices can be successful. Last weekend (4/14/12) he was proved right, with a solid premiere of “Positions 1956,” commissioned by the DC-based group from composer Conrad Cummings and librettist Michael Korie. “Positions 1956” uses various 1950’s instructional manuals, all...

“Positions 1956″ is called a “self help” opera.  How helpful!  How polite! It was written in 1988 and first heard in concert by the Cummings Ensemble at the Knitting Factory and PS 122 in New York.  The world premiere staged version takes place this month in the Washington DC area thanks to Urban Arias, a two-year old company that’s also commissioned the piece.  Six performances run April...

Paula Kimper’s first opera, “Patience and Sarah” was subtitled “a pioneering love story.”  Written in collaboration with librettist Wende Persons and based on the historical novel by Isabel Miller, it was also a pioneering opera, depicting a 19th century lesbian couple who settle a farm in upstate New York. As a composer Kimper didn’t have a deep catalog when she undertook to write the...

“A short, feminist opera about social change” is how composer Marie Incontrera describes her new project.  In short, it’s a “riot girl opera.” “At the Other Side of the Earth” is scheduled to debut May 18 at the Lesbian, Gay, Bisexual and Transgender Community Center in New York.  The cast features Layla Jasmine Presson, Katherine Cardin, Monica Harte, Scottie Roché and Lisa...

A death watch is the simplest way to describe the months leading up to New York City Opera’s curtailed and displaced 2012 winter season.  The company’s financial crisis caused it to abandon the David H. Koch Theater (formerly the New York State Theater), it’s long-time home at Lincoln Center, and to be at such loggerheads with the musicians union that the season itself was in jeopardy. But a new production of “La...

“Tippett, openly gay at a time when homosexuality had not yet been decriminalized in England, understood what it was to stand apart from conventional society.” That’s a choice line from Steve Smith’s story for the Times, “Darkly Spiritual Challenge to Injustice,” about Tippett’s most famous work and it’s themes of justice and social change.  The piece will be performed in concert...

“I don’t embarrass easily,” says author Wayne Koestenbaum. “That’s because I’m used to gay culture’s flamboyant embrace of embarrassing positions.” Perhaps it’s that bravery, that hold-your-chin-up attitude, which allows Koestenbaum the courage to delve so deeply into the shame, guilt and suffering of others. “Humiliation” is the latest book by Koestenbaum who will appear on Thursday at the University...

“Great Music, Right Here” is the apt motto of the Glens Falls Symphony.  Since the orchestra and its music director Charles Peltz regularly venture into contemporary music, “Right Now” might be an appropriate tag. Sunday afternoon’s program featured something far better than a risky premiere.  Instead, it was Jennifer Higdon’s Violin Concerto, which was written in 2009 and received the 2010 Pulitzer Prize for...

It’s amazing how Leon Botstein and Bard College’s SummerScape series keep coming up with “overlooked masterpieces” from the operatic repertoire.  At least that’s what the scholarly support materials tell us they are. The reality of what’s heard and seen on stage is often another matter. This year’s entry is “Die Liebe der Danae.” Richard Strauss’ second to last opera, it was completed in 1940 but only...