WUSTL Opera to present A Month in the Country
A lost gem in the world of opera, Lee Hoiby’s adaptation of the Ivan Turgenev play will be presented at 8 p.m. March 18-19.
Hacker, National Book Award winner, to read
The author of 11 books, she is a cancer survivor, a prominent lesbian activist, an influential literary editor and a gifted translator.
Mosaic Whispers to present concerts
The award-winning 12-member group will be joined by Mama’s Pot Roast, a WUSTL improv comedy troupe.
Renowned poet Bidart to read
He has been a finalist for both the National Book Award and the National Book Critics’ Circle Award.
Couture creations
Photo by Kevin LowderSenior Langley Snyder models a gown by classmate Caitilin Black for guest judge Susan Barrett at the recent “Gowns in the Gallery.”
Bipolar disorder study aims to find better treatment for kids
The study builds on previous research that showed bipolar disorder can occur in children as young as 7.
After happily ever after
Eric WoolseyInto the WoodsWhat happens after “happily ever after”? Find out when the Performing Arts Department in Arts & Sciences presents the Into The Woods — Stephen Sondheim and James Lapine’s musical amalgam of fairy tale favorites — as its spring Mainstage production April 1-3 and 8-10.
James Lapine
Jill KrementzJames LapineVeteran Broadway writer, librettist and director James Lapine will introduce Washington University’s production of Into the Woods, his 1987 collaboration with Stephen Sondheim, with a talk at 7 p.m. Friday, April 1.
Frank Bidart
Jerry BauerBidartAward-winning poet Frank Bidart, the visiting Fannie Hurst Professor of Creative Literature in Washington University’s Department of English in Arts & Sciences, will read from his work at 8 p.m. Thursday, March 24. In addition, Bidart will give a talk on the craft of poetry at 8 p.m. Thursday, March 31.
A Month in the Country
The Washington University Opera will present Lee Hoiby’s A Month in the Country — based on the play by Ivan Turgenev — at 8 p.m. Friday and Saturday, March 18 and 19. The piece is something of a lost gem in the world of opera: first adapted in 1964 for the New York City Opera, under the title Natalia Petrovna, it was revised in 1980 but had gone years without a performance until last December, when the Manhattan School of Music launched a well-received production.
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