News & Blog
In Love and War: Mark Adamo’s Lysistrata at the Fort Worth Opera Festival
Date: 6/7/2012 By Evan Mitchell, Bachtrack
The Fort Worth Opera closed their 2012 Festival on Sunday afternoon with the second of two performances of Mark Adamo’s Lysistrata, or the Nude Goddess. After hearing a strong Marriage of Figaro at the festival Friday evening, I had fairly high expectations, some of which were met, others not.
Lysistrata was one of two regional premieres at this year’s festival, the other being Jake Heggie’s Three Decembers. While I did not have a chance to hear the latter, programming Lysistrata was certainly a wise choice. Mr. Adamo (b. 1962) may not have met his lofty goals of illuminating “the psychology of warriors” or exploring in depth the nature of conflict – violent or non-violent – between human beings. (His program notes articulate what exactly he aimed to emulate in Aristophanes’ play, and what he changed in order to “humanize” its characters and plot line.) Nevertheless, he has an extraordinary ear for vocal writing and a knack for theater, and has written an engaging, coherent, and beautiful work.
-- Evan Mitchell, Bachtrack
Click here to read the entire Lysistrata review.
Date: 6/7/2012 By Evan Mitchell, Bachtrack
The Fort Worth Opera closed their 2012 Festival on Sunday afternoon with the second of two performances of Mark Adamo’s Lysistrata, or the Nude Goddess. After hearing a strong Marriage of Figaro at the festival Friday evening, I had fairly high expectations, some of which were met, others not.
Lysistrata was one of two regional premieres at this year’s festival, the other being Jake Heggie’s Three Decembers. While I did not have a chance to hear the latter, programming Lysistrata was certainly a wise choice. Mr. Adamo (b. 1962) may not have met his lofty goals of illuminating “the psychology of warriors” or exploring in depth the nature of conflict – violent or non-violent – between human beings. (His program notes articulate what exactly he aimed to emulate in Aristophanes’ play, and what he changed in order to “humanize” its characters and plot line.) Nevertheless, he has an extraordinary ear for vocal writing and a knack for theater, and has written an engaging, coherent, and beautiful work.
-- Evan Mitchell, Bachtrack
Click here to read the entire Lysistrata review.
