Performance Reviews
Reviews of operatic, vocal, and classical performances at the Metropolitan Opera, Carnegie Hall, all across America, and around the world.
Reviews of operatic, vocal, and classical performances at the Metropolitan Opera, Carnegie Hall, all across America, and around the world.
Rosa Feola immediately established with her first group that she’s a serious artist who brought to the concert format both a warmly appealing coppery soprano as well as detailed and savvy dramatic instincts.
I’m only now coming up for air after a night spent wading in the deep, cool, refractory waters of Magdalene, a work of immense, mythic joy and pain wrapped in the details of the ordinary.
Upon its commercial release three weeks ago, Tom Hooper’s film adaptation of Cats garnered instant, near-universal scorn from audiences and critics alike.
At the Metropolitan Opera on Friday night, an otherwise undistinguished Traviata was salvaged by an astonishing performance from Aleksandra Kurzak, whose Violetta was an incontrovertible triumph.
Composer Garrett Fisher and librettist Ellen McLaughlin’s Blood Moon wears its themes on its sleeve to great success in this spellbinding new opera.
Although the gold glitter cannons detonated at the end of the act were an ostentatious reminder that this was a celebration of the new year, it seemed that the only words on anyone’s lips as the audience filed out of the theater were “Viva Netrebko!”
The New York Gilbert And Sullivan Players is giving its umpteenth production of The Mikado through next Sunday at the Kaye Playhouse, and the show remains frisky and first rate.
Saturday night’s Rosenkavalier at the Met was an evening of excess — beautiful singing, sensitive acting, elaborate sets, and an unfortunate business that mars Robert Carsen’s otherwise excellent production.
Yannick Nézet-Séguin and the Metropolitan Opera Orchestra reigned supreme at the opening night of Wozzeck on Friday evening, rendering every snarl and shimmer of Berg’s score with gripping intensity.
Each year, when I take in a performance of Messiah by the Philadelphia Orchestra as part of my own holiday tradition, I hope it will spark some new and exciting feeling inside of me, or offer a new way of looking at the musical drama as a whole.
Greater Clements provokes more genuine poignancy than the whole of The Inheritance in half the running time. There’s hardly a moment that isn’t painfully true to life.
Whether Lyric Opera of Chicago is an appropriate venue for such an intimate, gentle show as The Light in the Piazza is a subject of much critical debate.
If Sunday’s performance of Magic Flute at the Met demonstrated one thing, it is that opera targeted at children must be just as good as (if not better than) opera targeted at adults.
Günther Groissböck’s ridiculously entertaining Baron Ochs and Sir Simon Rattle’s enthralling conducting soared highest during a mostly excellent revival of Der Rosenkavalier.
Mozart and Donizetti could humanize characters in a farce—Mercadante in I due FIgaro cannot get a handle on them.
Jagged Little Pill is as manicured as the kind of Stepfordian society the material supposedly rails against.
Joyce DiDonato’s take on Winterreise is a conceptual misstep that, song after song, frustratingly dilutes and distracts from an often rewarding musical performance.
Heartbeat Opera has set Der Freischütz in a contemporary era, in a rural locale where gun culture reigns supreme and bullying is natural.
Ryan McKinny’s Don is subtler, slyer, smoother, with a sharp wit and sense of dark humor that gives added dimension to the role.
It’s not difficult to make an audience weep uncontrollably. But because it’s so easy, I think artists have a responsibility to not overuse that power.
It was a gloomy, chilly, rainy day in Chicago on Sunday afternoon, a perfect reflection of the sad and gloomy fates of the title characters in Lyric Opera of Chicago’s presentation of The Three Queens.
Yusif Eyvazov dominated Friday’s Met premiere of Pikovaya Dama with a fearless, world-class portrayal that instantly transformed the opera into December’s must-see event.
Over the past week New York City was blessed by two appealing 17th century presentations: John Blow’s Venus and Adonis from Opera Lafayette and La Storia di Orfeo courtesy of the Boston Early Music Festival.
We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
