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Tag: Diane Paulus

Posted on August 4, 2013August 4, 2013

Warming up for Dallas

A photo from Death and the Powers is featured this Sunday in the Arts & Leisure section of The New York Times, in an article about technology and opera in composer David Lang's new work. Great way to spark interest in the performance coming up at the Dallas Opera (which will be streamed worldwide) in …

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Posted on July 7, 2011July 6, 2011

Opera Now reviews Death and the Powers

Posted on March 24, 2011

A Rocker Reacts to Death and the Powers

We caught up with Charlie Christos, a singer-songwriter who performs in the on-stage band for Prometheus Bound. This brand-new incarnation of Aeschylus's ancient tragedy recast as a rock show is currently playing at the American Repertory Theater's Club Oberon in Cambridge. It was directed by Death and the Powers' Diane Paulus, with a fresh, lean …

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Posted on March 7, 2011

Tod Machover and Diane Paulus at “On Point”

Tom Ashbrook, host of the radio talk show "On Point", conducted a terrific interview today with Death and the Powers composer Tod Machover and director Diane Paulus. The conversation delved into whether today's technology has transformed the age-old human desire to conquer death into a quest that seems plausible and possibly even attainable in the …

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Posted on January 20, 2011January 20, 2011

Opera Conference 2011

Death and the Powers will be prominently featured at Opera America's 2011 Opera Conference. Scheduled for May 7-11 in Boston and hosted by the Boston Lyric Opera and Opera Boston, the conference sessions include talks by Death and the Powers composer Tod Machover and director Diane Paulus. The opening keynote will be delivered by Nicholas …

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Posted on September 10, 2010September 17, 2010

Death and the Powers Synopsis (French)

Prologue Obscurité. Les robots roulent, oscillent, and glissent sur la scène en groupe puis se dispersent en différentes unités. Quatre robots émergent du pack et commencent à parler. Dans leur dialogue, les robots essaient de comprendre le sens du mot « mort , » un concept étrange auquel ils sont confrontés dans un drame qui …

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Posted on September 10, 2010September 17, 2010

Death and the Powers Synopsis (English)

Prologue Darkness.  Robots roll, lurch, and glide onstage as a group and then disassemble into separate units.  Four robots emerge from the pack and begin to speak.  In their dialogue, each robot tries to understand the meaning of the word “death,” a strange concept they encounter in a drama left behind by their human creators.  …

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Posted on July 25, 2010September 17, 2010

First Rehearsals – Slide Show!

Posted by June We thought you'd enjoy these photographs taken during the first set of rehearsals in June 2010. Can't wait to find out how these look on stage with lighting and imagery!!

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Events


March 7, 7:30 p.m. ET. World premiere of Tod Machover's Overstory Overture, Alice Tully Hall at Lincoln Center. Joyce DiDonato and the Sejong Soloists, Conducted by Earl Lee

March 16, 7:30 p.m. Korean Standard Time. Asian premiere of Tod Machover's Overstory Overture, Seoul Arts Center. Joyce DiDonato and the Sejong Soloists, Conducted by Earl Lee

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Shop Machover

Death and the Powers (DVD blu-ray)

Superb blu-ray of the Dallas Opera's 2014 production. “Death and the Powers doesn’t point the way to a new era of opera. It’s there. Now.” - Philadelphia Inquirer

$29.99

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Copyright by Hanoa Productions. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to “Hanoa Productions” with appropriate and specific direction to the original content.

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Tod Machover Recordings (click image to order)

 

In SACD, this CD provides an ideal opportunity to savor the richness, subtlety, variety and originality of Machover’s music.

 

 

“…manages to be at once technically rigorous, hard-charging, and hugely visceral.”
– The Boston Globe

 

 

“Mr. Machover’s new quartet, “… but not simpler …,” is a vigorous, exciting study in speediness, full of tremolando figures, racing lines and iridescent passages..”
– The New York Times

 

”A milestone and a noble achievement”
– Lloyd Schwartz, National Public Radio

 

 

 

”…one of the brightest and most intelligent of new American operas”
– Andrew Porter, The New Yorker

 

 

 

“…the music leaves an indelible aural effect upon the ear in its colorful writing, swirling figurations, and immediacy.”
– David DeBoor Canfield, Fanfare

 

 

”…Best of the Year”
– The Boston Globe

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