review / performance
I felt that the whole performance at West Edge Opera on Sunday was greater the sum of its parts, particularly due to the dedication of the whole cast and crew amidst all adversities.
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The July-August timeframe in the San Francisco Bay Area is always exciting time in terms of opera.
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Having had many memorable encounters with these characters before, I had been looking forward to encountering them again in an ambitious contemporary Oresteia, but I left the Armory feeling that writer-director Robert Icke just didn’t get it.
It is perhaps a misperception to suggest that Die Schweigsame Frau is stronger in the uncut version.
By David Fox
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Gregory Spears’ latest opera Castor and Patience, with a libretto by former US Poet Laureate and Pulitzer Prize-winner Tracy K. Smith, was commissioned by Cincinnati Opera to celebrate its centennial season in 2020.
By Donna Annina
This Traviata remained firmly Beltway-bound and by the time I had gotten home, the 45-minute traffic jam to leave the parking lot was eminently fresher in my mind than the evening’s performance.
By Harry Rose
Only three years separate the creation of The Most Happy Fella (1956) and The Sound of Music (1959), but there’s a proverbial ocean between these two Golden Age musicals are being performed at prestigious festivals this summer.
A trip to Mediterranean climes came through musically, as the Boston Symphony Orchestra presented a largely satisfying concert performance of Don Giovanni on July 16.
Since April four wildly varied incarnations of Hamlet have been haunting New York City theaters; the most recent to arrive was Robert Icke’s chicly contemporary take on Shakespeare’s play which opened last week at the Park Avenue Armory.
On Thursday June 30th, San Francisco Opera closed their summer season with a one-night-only special concert celebrating Eun Sun Kim’s first season as the Caroline H. Hume Music Director, in an aptly named concert “Eun Sun Kim Conducts Verdi.”
People’s Light deserves commendation for resurfacing The Vinegar Tree, and there’s satisfaction in seeing a fine old play handled with care.
Director R.B. Schlather deftly walks a porous boundary, casting this primordial paroxysm of Germanness as a dialogue between its naïve and moralistic narrative with its outsized legacy.
By Harry Rose
The second act of Dream of the Red Chamber reached the apex and provided the audience with soul-stirring fulfillment.
To conclude its triumphant season, last week the Met Orchestra performed its annual Carnegie Hall concerts under music director Yannick Nézet-Séguin and once again performed superbly.
