Although Leonard Bernstein’s Trouble in Tahiti is always categorized as an opera, the piece certainly has one foot planted firmly in his jazzy musical-theater style.
Never was this clearer than in Chas Rader-Shieber’s mash-up double bill with the umbrella title Trouble in Paradise, where the director paired Tahiti intriguingly but ultimately pointlessly with Purcell’s Dido and Aeneas in a pretentious conflation that was simultaneously over-conceptualized and insufficiently thought through…
Read the entire review at Parterre Box.
Categories: Criticism, Music, PARTERRE BOX
Leave a Reply