Alex Baker
Mezzo-soprano Daniela Mack appeared at the Kennedy Center Terrace Theater this past Thursday with pianist Keun-A Lee in a thoughtful and distinctly personal recital program presented by Vocal Arts DC.
By Alex Baker
13 comments
Opera at the Kennedy Center has been in hibernation this winter.
By Alex Baker
Washington Concert Opera’s season opened with a triumphant performance of Gioachino Rossini’s rarely heard Ermione Saturday night at George Washington University in D.C., led by Antony Walker and a stellar quartet of principals in Angela Meade, Lawrence Brownlee, David Portillo, and Ginger Costa-Jackson.
By Alex Baker
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
By Alex Baker
Chopping up the action and dutifully showing each plot point may work in a film but in an opera, where every piece of marginal dialogue must be set to music, it feels like a chore.
By Alex Baker
Originally scheduled for a D.C. premiere in spring 2020 but thwarted by the pandemic, Washington National Opera was finally able to present composer Jeanine Tesori and librettist Tazewell Thompson’s Blue at the Kennedy Center last Saturday.
By Alex Baker
If it is true that there are few respectable ways for people over 40 without small children to celebrate Halloween, a performance of Richard Strauss’ pioneering horror opera Elektra belongs on the short list.
By Alex Baker
South African Jacques Imbrailo’s high-lying baritone did much to highlight the lyrical possibilities of the title role of Hamlet, originally conceived for a tenor.
By Alex Baker
The late-mid 1730s were transitional years for Handel, to put it nicely.
By Alex Baker
Going into Washington National Opera’s final presentation of the season, Madama Butterfly, I feared that I might be geisha’d out.
By Alex Baker
The rewards of Leonore lie almost as much in the ensembles as the solo contributions.
By Alex Baker
Washington National Opera continued a focus on recent works this season with Terence Blanchard and Michael Cristofer’s 2013 opera Champion on the life of boxer Emile Griffith.
By Alex Baker
The opera is relentlessly obvious, a work that repeatedly turns to tired tropes and canned characters to fill up its nearly three hour run time.
By Alex Baker
Washington National Opera’s American Opera Initiative, now in its 5th year, keeps the opera flame alight at the Kennedy Center during the long winter stretch between mainstage WNO productions.
By Alex Baker
Operatic history can be cruel where multiple works with the same subject are concerned
By Alex Baker
Washington National Opera offered a shellshocked D.C. some much-needed diversion Saturday night, with a new production of La Fille du Regiment.
By Alex Baker
The good news is that the first concert was devoted to the exceptional artistry of Lawrence Brownlee.
By Alex Baker
Washington National Opera’s first Ring Cycle came to a bittersweet conclusion this past Sunday, closing the door on an extraordinary three weeks in the opera house and a remarkable musical and theatrical achievement for the company.
By Alex Baker
Washington National Opera followed up Monday’s lavishly praised Die Walküre with a Siegfried that, if not quite rising to the summit of the previous installment, delivered a musically committed and eminently watchable version of this complicated work.
By Alex Baker
WNO’s first complete Ring Cycle continued Monday evening with a revamped version of the Die Walküre first seen at the Kennedy Center in 2007.
By Alex Baker
Happily, this Rheingold, which returned to the Kennedy Center Saturday night to open the first of three complete cycles, has been shorn of its clumsier gestures.
By Alex Baker
Javier Camarena offered a performance carefully calibrated to a more intimate venue that nonetheless offered emotionally potent results.
By Alex Baker
Kurt Weill and Maxwell Anderson’s 1949 musicalization of Alan Paton’s Cry, the Beloved Country has found a tentative home on the opera stage.
By Alex Baker
