Originally published on Wed September 4, 2013 9:34 am
At 8 years old, I scrawled my first and last Symphonies — nos. 1, 2, and 3 — on ruled notebook paper. They were short duets for clarinet and trumpet for myself and my brother to play. Why did I call them symphonies? I can't remember, but I suspect that it was a desire to tie these efforts — and me, by extension — to a grand and venerable tradition.
Pamela Armstrong (left) as Alice Ford and Heather Johnson as Meg Page in New York City Opera's production of Falstaff. The so called people's opera may have to cancel its upcoming season if fundraising falls short.
Credit Bill Cooper / BAM
The U.S. premiere of Anna Nicole is set to open at the Brooklyn Academy of Music — BAM — on Sept. 17. Above, a 2011 performance of Anna Nicole at the Royal Opera House in London.
There are a lot of operas that end with heroines on their deathbeds, singing one glorious aria before they die. That's what happens at the end of Anna Nicole, the controversial new work that New York City Opera is presenting at the Brooklyn Academy of Music in September. But the company's artistic director and general manager, George Steel, says it could also be City Opera's last gasp.