Cher Public

Senza nube e senza vel

As I gloried in Mariella Devia’s triumphant 2014 Opera Orchestra of New York’s concert performance of Roberto Devereux at Carnegie Hall, I assumed it would be my last opportunity to hear the soprano live. I had contented myself knowing that the spectacular High D natural that capped her “Quel sangue versato” would be a fitting coda to my history with the singer.  Read more »

Give ’em Hellman

As musical theatre and opera companies around the country race to celebrate the Leonard Bernstein centennial, the ubiquity of Candidefeels practically unavoidable. And at Washington National Opera, Francesca Zambello’s main gig when she’s not directing internationally or summering up in Cooperstown, Candide’s ubiquity feels wholly inevitable.  Read more »

Misty salvation

Ah, finalmente! Thrice I have been denied access to Rome’s beautiful Teatro dell’Opera di Roma–thanks to two strikes and one unexpected venue change. Lots of coins into the Trevi Fountain, return trips to Rome, and then last Saturday, a fourth attempt at Teatro dell’Opera—and finally satisfying success! Read more »

“Tosca,” starring the Philadelphia Orchestra

Though orchestrally lavish, this “semi-staging” delivers less theater than no staging at all.

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Lovely and never violent

There was a lot expectation about the new opera by George Benjamin and Martin Crimp. Their previous collaboration, Written on Skin, was an enormous critical and public success,  earning the work a place in the exclusive club of 21th century classics with selected works by Saariaho, Heggie and Birtwistle. 

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Meeting Rigoletto

I have a confession to make. I have been taking Rigoletto for granted.

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When in Rome

Mozart was barely sixteen when he wrote Lucio Silla to open the Carnival in Milan in 1772.

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Love to love you baby

Asking the musical question, “They say we know why the poor sleep three in a bed, but why do the rich?

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Too much, too soon

Heartbeat is, after all, a company that loves to tinker.

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Pretty little lyres

While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.

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