With the powerful opera Fallujah, Long Beach Opera shows how a structure is rebuilt easier than a human psyche can be mended.
Lillian Hellman saw a parallel between Voltaire's satire and the Red Scare.
An examination of the character names in Moby-Dick: their origin, how Melville used them, and how composer Jake Heggie, librettist Gene Scheer and other modern-day artists have adapted them into our culture.
Bass-Baritone Philip Cokorinos, Betto di Signa in Gianni Schicchi, continues his string of portraying operatic “losers."
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