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MusicNovember 1997 At City Opera: a warhorse & a dark horse On the City Opera season & Dvorak’s day at St. George’s Church The status of City Opera as New York’s “second” opera company does not necessarily imply that the “first” opera house, the Metropolitan, is performing impeccably, or indeed is giving the most responsible account of the full operatic repertory, from baroque to contemporary. The Met, like Homer, can and does nod. The opening weeks of the fall season of eight productions at the “new” New York City Opera represent the first productions presented under the leadership of general and artistic director Paul Kellogg, appointed in January 1996 to succeed the late Christopher Keene. Mr. Kellogg was the founder and nurturer of the Glimmerglass Opera in Cooperstown, New York, since 1979, a unique experimental summer opera festival that has featured both new and traditional works. One naturally hopes that Mr. Kellogg’s arrival will bring new life to an opera company that, since its founding in the ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 16 November 1997, on page 50 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/At-City-Opera--a-warhorse---a-dark-horse-3258
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A review of Molto Agitato: The Mayhem Behind the Music at the Metropolitan Opera, by Johanna Fiedler, Covent Garden: The Untold Story, by Norman Lebrecht, Valery Gergiev and the Kirov: A Story of Survival, by John Ardoin.
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