review / performance
After the break the ladies stepped up their game so much that it elevated the night into legendary status: definitely one for the books!
This was a great and happy event, but it wasn’t so much a musical one.
By John Yohalem
Last weekend, On Site Opera presented What Lies Beneath, a program of maritime-themed operatic excerpts staged aboard the 19th century schooner Wavertree (now a part of the South Street Seaport Museum).
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Lawrence Brownlee and Michael Spyres are two singers at the top of their game, as this concert showed, virtually peerless in music as punishing as it is pretty.
Bay Street Theater deserves enormous credit for transforming Camelot from a clumsy historical epic into a breezy, human fairytale about leaders who cannot lead.
By Harry Rose
The San Francisco Opera became the first US opera company to present a full-blown production indoors on its home turf this season when they ushered the US opera audience into 2021-22 Season on Saturday September 21 with a stellar performance of Giacomo Puccini’s perennial favorite Tosca.
Concerts at Wolf Trap, mixed bags in more ways than one, provided fleeting glimpses of the old normal as moments of frisson mingled with more familiar monotony.
By Harry Rose
Like many composers of his generation, Ernest Chausson was enthralled by Wagner and he too turned to legend for his only opera, one that would consume him for final decade of his brief life.
For this revival of Tosca Teatro Real has configured several casts with some of the best singers in the world: Sondra Radvanovsky, Maria Agresta, Anna Netrebko, Joseph Calleja, Michael Fabiano, Yusif Eyvazov, Jonas Kaufmann, Carlos Álvarez, Gevorg Hakobyan and Luca Salsi.
Last night, for the first time in nearly a year and a half, opera returned to Lincoln Center.
As soon as James Clutton, the new Opera Holland Park director, stepped on stage to welcome the audience, we all knew that we were not at the typical English summer opera festival.
Pauline Viardot‘s Cendrillon hews closer to the Perrault original than either Rossini or Massenet’s more familiar retellings and is dainty in conception as a salon opera for her students.
By Harry Rose
The crown jewel of this year’s Munich Festival is undoubtedly Richard Wagner’s Tristan und Isolde, which opened the Festival on June 29 and will close the Festival with an “Opera for All” screening on July 31.
