Alex Baker
Alex Baker lives in Washington, DC, where he enjoys attending a variety of classical music events. After college in New York he started attending the Met on a regular basis and blogging about his experiences at wellsung.blogspot.com. Current singers he would travel for include Christine Goerke and Karita Mattila, while historical favorites include Tatiana Troyanos and Astrid Varnay.
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
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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
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Beth Morrison Projects presents Opera of the Week
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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
Washingtonians enjoyed a happy reunion this past Sunday with David Daniels.
By Alex Baker
WNO premiered Better Gods, an hour-long work by composer Luna Pearl Woolf and librettist Caitlin Vincent on Friday evening.
By Alex Baker
Washington National Opera presented the fourth annual installment of its “American Opera Initiative” series in the Kennedy Center Terrace Theater Wednesday evening.
By Alex Baker
Saturday’s Washington National Opera premiere of a new version of Philip Glass and Christopher Hampton’s Appomattox had everything going for it but the opera.
By Alex Baker
Along with Don Giovanni, Carmen is an odd bird on the list of the most beloved and frequently performed works.
By Alex Baker
