Albert Innaurato
Were La Rondine an IQ test, I’d be in trouble.
Opera Philadelphia ended its season with Le Nozze di Figaro, Friday, and it will play May 3, 5, and 7—a matinee. Figaro is considered by most to be one of the few perfect operas and although it’s perhaps too easily encountered in routine run-throughs, there are usually rewards in seeing it.
The best part of Paul Appleby’s recital for the Philadelphia Chamber Society came in his last two groups.
Curtis Opera Theater mounted a musically remarkable account of John Adams’ Doctor Atomic on March 2.
Sandrine Piau‘s lovely recital with pianist Susan Manoff at The Philadelphia Chamber Music Society on February 14 entered around the themes of sleep, dreams and waking.
Tancredi, given on February 10th, was a credit to Opera Philadelphia, who offered a well-considered and compelling production.
How Verdi’s opera might address this particular nightmare was unclear.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
Jarrett Ott is a star. That is the only surprise takeaway from the well-intended snore, Cold Mountain.
Anna Moffo made some of the most entrancing records ever. Their appeal is to “voice fanciers.” (I understand. We’re a despised group.) But Moffo’s best work renders us helpless.
Lisette Oropesa sang “The Lost One”—the meaning of “traviata.”