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Sacha Evans

Sacha Evans

Sacha Evans is an American critic with a focus on vocal music, particularly Baroque opera. She is a communications consultant by day, culture vulture by night. She currently resides in New York City and sings with the Manhattan Choral Ensemble. Learn more about her at: http://sachaevans.com

Auteur:Sacha Evans

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A noisy rendition of The Guilty Mother: Milhaud in New York

Par Sacha Evans, 20 juin 2017

The opera can be summed up by a line sung by the Countess in Act 4: “You’re killing her with all this noise.”

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A noisy rendition of The Guilty Mother

Par Sacha Evans

Vittorio Grigòlo energizes an uneven Met staging of Werther

Par Sacha Evans, 20 février 2017

From the moment he stepped on stage as our ill-fated title character, Italian tenor Vittorio Grigolo seemed as if he may burst at the seams.

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Grigòlo energizes uneven Werther at the Met

Par Sacha Evans

Jaap van Zweden and the Cleveland Orchestra bring freshness to Beethoven’s Fifth

Par Sacha Evans, 26 novembre 2016

Paired with the Britten’s early Sinfonia da Requiem, Beethoven’s “Fateful Fifth” sounded unexpectedly fresh.

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Zweden brings freshness to Beethoven’s Fifth

Par Sacha Evans

A humanizing force: Rundfunkchor Berlin’s spellbinding Brahms Requiem in New York

Par Sacha Evans, 16 octobre 2016

Performers often speak of ecstatic moments. But that ecstasy doesn't always transfer beyond the stage. This was an extraordinary effort to bridge the divide.

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A humanizing force: spellbinding Brahms

Par Sacha Evans

The Fifth Century as a window to eternity: Gavin Bryars in New York

Par Sacha Evans, 16 juin 2016

The reprise of The Fifth Century marks the beginning of an extended partnership between Bryars and the Crossing.

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The Fifth Century as a window to eternity

Par Sacha Evans

For Alan Gilbert, the End of Time suggests what may be to come

Par Sacha Evans, 13 mars 2016

What’s next for the outgoing Music Director of the New York Philharmonic? It’s unclear. But this program reflected both his legacy and the gifts he will carry down the road.

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For Alan Gilbert, the End of Time suggests what may be to come

Par Sacha Evans

The Wonder of Will: Shakespeare through the prism in New York

Par Sacha Evans, 24 janvier 2016

A ravishing performance, with Shakespeare’s words delivered primarily through the prism of living composers.

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The Wonder of Will: Shakespeare through the prism in New York

Par Sacha Evans

The Met overindulges in a decadent Rigoletto

Par Sacha Evans, 23 octobre 2015

Does it really matter where an opera is set? These days, this question seems to trail Rigoletto.

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The Met overindulges in a decadent Rigoletto

Par Sacha Evans

Sondra Radvanovsky reigns over a lackluster set: Anna Bolena at the Met

Par Sacha Evans, 26 septembre 2015

In Anna Bolena, Sondra Radvanovsky plays a queen who loses her crown. But she approaches a different coronation: as the first to play three of Donizetti's Tudor Queens at the Met.

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Sondra Radvanovsky reigns over a lackluster set

Par Sacha Evans

Light in August: Haydn's Creation closes Mostly Mozart Festival

Par Sacha Evans, 21 août 2015

Haydn’s late, lofty achievement has the august quality of a masterwork, coupled with cheerfulness befitting a summer series that ends in the month of August.

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Light in August: Haydn's Creation in New York

Par Sacha Evans

Render unto Caesar: Cato approaches Utica for an American première at Glimmerglass

Par Sacha Evans, 09 août 2015

Today, Vivaldi’s operas remain rarities. The American première of Cato in Utica at the Glimmerglass Festival (located an hour south of Utica, NY) attempted to elevate this little explored corner of Baroque repertoire.

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Render unto Caesar: An American première at Glimmerglass

Par Sacha Evans