Stained class
With no disrespect to Nadine Sierra, who as Lucia acquits herself honorably if not magically in vocal terms, the undisputed cause célèbre here is director Simon Stone.
David Fox
Shining ‘Hours’
Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music and singing, it’s cordon bleu.
Worth the wait
Ana Maria Martinez is an artist of the first caliber, which was richly evident throughout this imaginative, substantial (nearly two hours!) program, which was (thank you!) offered without a music stand.
A Philly that is ready for the race
As we continue to watch the world of live performance come cautiously back to post-COVID levels, I felt the greatest surge of joy so far when I saw Opera Philadelphia’s announcement of their 2022-23 season—and most especially, the reboot of Festival O.
Doing something right
There was something very Russian—indeed, Chekhovian—about the mix of joy and tears, as the Academy of Vocal Arts performed Tchaikovsky’s Eugene Onegin
When you wish upon a scar
So that there’s no confusion: the Long Day’s Journey into Night seen here is contemporary, political, brutal, and universal.
I want your Rex
Opera Philadelphia’s return to the stage after two years was greeted by a cheering crowd who clearly would have been happy to stay longer, but as director David Devan acknowledged, this was a step in a continuing trajectory.
Learning how to laugh
When I think of Stephen Sondheim, so many of my memories are not simply about shows of his I loved and learned from—they are experiences that literally shaped my life.
Lehman’s terms
The Lehman Trilogy had me in its thrall from the moment the lights went up. It’s absolutely spellbinding. That’s not to say I endorse it wholeheartedly, though.
Widow’s talk
Call me Mary Quite Contrary if you want, but as we finally see live performances coming back, I’m reflecting with gratitude and even some nostalgia on the way COVID quarantine forged a path for entrepreneurial performance companies to recalibrate and deliver their work through streaming platforms.
Awaiting faith
Faith. The title of this fourth and final chapter of Adam Guettel’s Myths and Hymns made me pause for reflection.
Ghena Meirson 1957-2021
April is the cruelest month, the song tells us—but this year, it was a week later. Ghenady Meirson, Philadelphia’s master of Russian Opera and coach extraordinaire, died on May 8.
Myth me blind
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
Stopping by Philly on a snowy evening
As I don’t need to remind you, we are fast approaching the one-year anniversary of COVID quarantine—and for the arts, it remains a scenario of giveth and taketh away.
One little soldier
Take it as a high compliment to the harrowing, riveting Soldier Songs that I was grateful it lasted only one hour. My nerves couldn’t have handled more.
Learning to fly
Conceived by Adam Guettel as a song cycle that explores human relationships to the gods across the span of history into today, Myths and Hymns has been seen and heard in concert and staged settings, and some of the individual songs are often performed in cabaret.
Call of the wild
Call Out is an ample demonstration of Zachary James’ many talents—and an inspiring example of the artistic light that can be generated even when our theaters are temporarily dark.
Jamie & Julia
As Julia Child, Jamie Barton is clearly having the time of her life.
Philadelphia stories
Has anything positive happened to the performing arts since the plague engulfed us nearly ten months ago?
Friend me a tenor
A particularly heartbreaking aspect of the pandemic shutdown has, of course, been helplessly watching rising artists have their careers plunged into indefinite silence. But for a few bold souls who are willing to try new things, the moment has also opened doors.
Dormant spring
AVA met the challenge with a delightful, if necessarily truncated, video recital that allowed each singer to participate in the now-familiar Zoom platform.
Coming out, operatically
Somewhere in all of this, I decided it was time to try Callas.
Utterly bewitching
Who could doubt that Leontyne Price contains multitudes?
Vier Letzte Lieder
My introduction to the work was the Angel LP from 1964 with Elisabeth Schwarzkopf and George Szell… and yes, I’m aware that it’s a performance that tends to divide rooms.
Win a Free Ticket to Opening Night at the Met!
Quinn Kelsey and Lise Davidsen star in the Met's new Macbeth. We're giving away one ticket, so screw your courage to the sticking place and enter now!
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
