17 pieces since 2011 — at 5 companies, most often at Metropolitan Opera.
Rigoletto is the perfect opera. The story is straightforward and powerful; none of the action occurs backstage or between scenes or twenty-seven years before curtain rise; and the ethical anvil lands not once but twice, on the title character singing, “La maledizione!” The curse!
It’s not hard not to feel jaded about Romeo and Juliet.
I hate to say I nearly cringe at the thought of Gioachino Rossini’s Il Barbiere di Siviglia.
On paper, the Met’s revival of L’elisir d’amore looked like a lovely evening. And at times it was—a few scenes hinted at what it could be and what it might yet become.
Lyric Opera of Chicago’s Le Comte Ory was a lovely cake with waaaay too much frosting.
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
It’s an old chestnut of a joke that applies even more to opera than to the theatre: A veteran actor is on his deathbed.
We’re two gay men, with 30-plus years between us, who went together to see the Broadway adaptation of Buz Luhrmann’s Moulin Rouge!
Porgy and Bess, George Gershwin, Ira Gershwin and DuBose Heyward’s 1935 “folk” opera, graced the stage of Dutch National Opera for the first time last month, and it was resounding success from start to finish.
At Friday’s opening of Otello, there was a good deal of interesting going on, though not all of it necessarily onstage.
Beaumarchais clearly delighted in this unobtrusive realm.
The Met ushers out this wretched year and rings in the new with an elegant and effective new production of Charles Gounod’s Roméo et Juliette.
Bartlett Sher’s “new to Chicago” production of Romeo et Juliette came to the Lyric Opera at Monday’s opening after appearances at Salzburg and Milan.
Unlike my friend Greg Freed, who entertainingly wrote of his ambivalence about seeing Il trovatore in a movie theater this season, I have embraced the Met Live in HD transmissions as a part of the modern operagoing experience.
While the celebrity-studded, expensively-dressed audience gathered for the gala opening of the Metropolitan Opera’s 2015-2016 season seemed genuinely enthralled by Monday evening’s performance of Otello, it was more likely swept away by the power of Verdi’s genius than by Bartlett Sher’s puzzling, inert new production.
Here goes with the End of the Gods and the End of these Ring reviews: Götterdämmerung was more of a mixed bag than the other operas, but still left a powerful impression. This was where Zambello’s choice to steer clear of heavy spectacle was most evident to me. The cost in grandeur was offset by […]
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