A Quiet Place, Leonard Bernstein's fractured domestic drama, had a hostile reception when it opened in 1983. As a new production of the work arrives at New York City Opera, WILLIAM R. BRAUN examines the score's considerable power.
From the 1983 premiere of A Quiet Place in Houston: Theodor Uppman (Bill), Chester Ludgin (Sam), Keith Gates (Chorus), super Yvonne Bervle, Timothy Nolen (Junior) and Sheri Greenawald (Dede) in Scene 3
© Jim Caldwell/Houston Grand Opera 2010
The pattern is familiar. There is a new opera by a successful composer. For whatever reason it wasn't exactly what people expected it to be; it was too long; it wasn't quite ready, because operas don'...
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