David Fox
Opera Philadelphia’s Love of Three Oranges is never less than extravagantly entertaining theater.
By David Fox
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What is the best metaphor for this year’s Bard Music Festival?
By David Fox
“Die Zauberflöte is an opera!” “No, it’s the first musical comedy!”
By David Fox
The second summer session of the Russian Opera Workshop concludes this week with concert performances of Tchaikovsky’s Maid of Orleans.
By David Fox
Within minutes, something wonderful happened. None of my reservations mattered.
By David Fox
Under any circumstances, the Russian Opera Workshop’s radiant concert performance of Tchaikovsky’s Iolanta would have been an event to celebrate.
By David Fox
The Princeton Festival has long been a “Little Engine that Could,” but the current operatic offering, John Adams’ Nixon in China, is a good deal more than that.
By David Fox
With the Philadelphia Orchestra’s Candide, they saved the best (of all possible worlds) for last.
By David Fox
Brigitte Fassbaender‘s sound is piquant and, I’d hazard to guess, instantly recognizable to anyone familiar with her work.
By David Fox
For more than 40 years, the magnificent opening image from Francis Poulenc’s Dialogues des Carmélites has served as an icon for the Met.
By David Fox
Even the hit songs in this early Jule Styne musical would recede in a better show.
By David Fox
Two atmospheric but bleak works provide a musical illustration of the notion that misery loves company.
By David Fox
In the most hectic and sometimes marvelous year of theater I’ve had in memory, Lady in the Dark at MasterVoices this weekend thrilled me most.
By David Fox
It’s a wonderful idea to cast Bohème with young singers, and these delivered astonishingly assured, confident, mature performances.
By David Fox
The sexiest moment on Broadway this season features a 73-year-old man and a single button.
By David Fox
We owe director John Doyle and Classic Stage Company a debt of gratitude for bringing Blitzstein’s The Cradle Will Rock—warts and all—to the stage.
By David Fox
Frankly, I can’t imagine there’s a future for I Married an Angel.
By David Fox
Kiss Me Kate is a sophisticated soufflé of a show: a comedy of manners, requiring effortless verve and elegance in the playing.
By David Fox
I’ve never liked the term “crossover.”
By David Fox
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
By David Fox
Così fan tutte, Mozart’s final Italian comedy with Lorenzo Da Ponte, is this season’s heaviest lift for Philadelphia’s Academy of Vocal Arts (AVA).
By David Fox
The Day Before Spring , while not exactly experimental, shows a young and adventurous team thinking both traditionally and out-of-the-box.
By David Fox
It may have taken 28 years to see Robert Carsen’s production of Britten’s A Midsummer Night’s Dream in the U. S., but it was worth waiting for.
By David Fox
Director Casey Hushion attempts to spice up Call Me Madam in ways that make it feel more than ever like an out-of-touch relic.
By David Fox
