At the Opera House, The Friedkin Connection
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William Friedkin, the director of ÂThe French ConnectionÂ and ÂThe Exorcist,Â has been quietly developing a second career Â as an opera director.
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The Metropolitan Operaâs new strategy of plugging sudden holes in its casts with big names has its beneficiaries.
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One man was a millionaire Manhattan investment banker who supported cultural institutions like Lincoln Center. The other was an electrician from Long Island with a history of alcohol abuse and numerous scrapes with the law.
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The Seattle Symphony Orchestraâs recent history serves as a cautionary tale on how, in an artistic hothouse, a tangle of emotion and politics can veer out of control and take on a life of its own.
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Opera is no stranger to sensitive  singers and demanding divas.
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With âBug,â William Friedkin continues to be more fascinated by the evil inside our heads than the boogeyman outside.
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The Manhattan Sinfonietta, a flexible new-music ensemble led by Jeffrey Milarsky , took over Merkin Concert Hall last weekend for two concerts that explored competing notions of contemporary musical language.
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Rather than being annoying interrupters, ringing phones are being embraced by Chicago's Sinfonietta
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âDon Quixoteâ records, though perhaps from too close a distance, the real-life relationship between George Balanchine and his muse.
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The richly evocative exhibit of Friedl Dicker-Brandeis's work at the Jewish Museum breathes life into the icon and gives her own work well-deserved attention.
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The Met plans to raise operaâs visibility, with help from other companies.
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With new music directors at both companies, New York City Opera and the Metropolitan Opera are poised to prod each other into making New York a hotbed of operatic innovation.
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Arts & entertainment: Pinocchio is a tale that has been told in many different ways - now it is the turn of opera
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Eighteen months after the Metropolitan Opera and Lincoln Center Theater announced an innovative commissioning project, few notes have been written. But the effort is gathering steam.
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A couple of New York producers have plans to bring a concert version of âJerry Springer: The Operaâ to, of all places, Carnegie Hall.
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Stars of the Metropolitan Opera stand backstage during the season&#39;s opening presentation of Umberto Giordano&#39;s &quot;Andrea Chenier,&quot; in this Oct. 15, 1962 file photo in New York.
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In his musicals, Ernst Lubitschâs precise, highly stylized direction of actors and his masterful sense of ellipsis helped to characterize âthe Lubitsch touch.â