Crete-ed rivalry
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
Antony Walker
13 pieces since 2014 — at 3 companies, most often at Washington Concert Opera.
13
pieces
3
companies
13
years
Pearl Jam
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
I listen to the wind of my soul
Washington Concert Opera began its 39th season last month with Christoph Willibald Gluck’s late masterpiece Iphigénie en Tauride.
Brain Wurm
By the time the curtain rose on Verdi’s Luisa Miller last Sunday in Washington Concert Opera’s final show of the season, the originally announced line-up was about as accurate as a federal agency org chart from February.
The emperor’s new closure
Washington Concert Opera delved into Mozart for the first time earlier this month with the composer’s once neglected penultimate stage work, La Clemenza di Tito, led by Maestro Antony Walker.
Other desert settees
Washington Concert Opera returned on November 24th for its first show of the 2024-2025 season with a production of Puccini’s Manon Lescaut, another (relative) rarity from the composer following last year’s season-closing presentation of La rondine.
Hope is a thing with feathers
After a century of searching, the world has perhaps finally found a definitive Magda in ethereal soprano Ailyn Pérez.
Favola bella che ieri t’illuse, che oggi m’illude
Washington Concert Opera’s season opened with a triumphant performance of Gioachino Rossini’s rarely heard Ermione Saturday night at George Washington University in D.C., led by Antony Walker and a stellar quartet of principals in Angela Meade, Lawrence Brownlee, David Portillo, and Ginger Costa-Jackson.
Ring my bell
The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.
The second time around
While the formulaic nature of some of Rossini’s other operas can undermine his ability to balance bravura singing and playing with legitimate drama, a concert Maometto II proves, with what it offers as much as what it lacks, that the formula still works.
Sweet prince
South African Jacques Imbrailo’s high-lying baritone did much to highlight the lyrical possibilities of the title role of Hamlet, originally conceived for a tenor.
A Lesbian in distress
Zelmira, a work of 1822, was the last of the eight operas Rossini composed for the Teatro San Carlo in Naples, then the largest opera house in Italy—perhaps in Europe.
All about my mother
Operatic history can be cruel where multiple works with the same subject are concerned
The year in Corwin
New York City isn’t a bad place to live, operatically-speaking.
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).
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!
