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January 20, 2021
Michael Andor Brodeur
THE WASHINGTON POST – A strange package arrived on our doorstep last week. Strange because it didn’t contain masks, or disinfectant wipes, or even another jar of that chili-crisp paste we keep blowing through. It was a box of opera.
The Beauty That Still Remains: Diaries in Song is the latest experiment by the New York-based On Site Opera, a company that stays true to its name, even as it eschews that most foundational of operatic conventions: the stage.
It’s also the latest example of the many ways opera is reinventing itself amid a pandemic that kept houses shuttered for the better part of a year. Without audiences filling rows in real life, opera companies are experimenting with ways to keep fans engaged.
Forced online, an opera festival searches for intimacy
Alexi Murdoch in Wide Slumber for Lepidopterists, part of the Prototype Festival. The Under the Radar, Prototype and Exponential festivals are ready to open our minds with experimental work, even if their doors are shut. Pierre-Alain Giraud via The New York Times.
by Zachary Woolfe
(NYT NEWS SERVICE)
.- The annual Prototype festival of new opera and music theater thrives on intimacy. Its chamber-scale offerings often politically charged, emotionally brutal and just plain loud vibrate the viscera. Prototype has become known for screaming, moaning works like Angels Bone and Prism, which both went on to win Pulitzer Prizes and were clench-your-jaw immersions in suffering, put on in tiny theaters that magnified their effect.