El último sueño de Frida y Diego at the Lyric Opera of Chicago is a visual and sonic wonder, but a weak libretto dampens its effect.
A muted production challenges a talented cast in San Francisco Opera’s Idomeneo
Ainadamar functions on two levels: as a defiant dance against fascist totalitarianism and as an exaltation of the diva.
Ainadamar never quite found its identity between the two poles of conceptual and concrete.
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
Only connect! So sayeth E.M. Forster (via Margaret Wilcox) in Howard’s End.
Mezzo-soprano Daniela Mack appeared at the Kennedy Center Terrace Theater this past Thursday with pianist Keun-A Lee in a thoughtful and distinctly personal recital program presented by Vocal Arts DC.
Despite this being the first full-length opera for Gabriela Lena Frank, there’s no lack of experience across the creative team which, along with favorable reviews for the production, contributed to high levels of anticipation.
On June 16, San Francisco Opera concluded their excellent Centennial Season with a heartfelt 100th Anniversary Concert, featuring a starry cast, three conductors (including current and former Music Directors) and the SF Opera Orchestra and Chorus.
“I joyfully await the exit—and I hope never to return” were the last words written by the visionary Mexican painter, Magdalena Carmen Frida Kahlo y Calderón (famously known simply as Frida Kahlo), according to her 2002 biography by Hayden Herrera.
Rodrigo is a ball-breaking role, but Lawrence Brownlee makes the demands sound easy—tossing in additional high notes and audaciously decorating cabalettas as if it were the easiest thing in the world.
I wonder why many New Yorkers have been led to believe that the only Handel conductor in the world is Harry Bicket.
“Once upon a time / Lived a foolish king. / Mocking Death, his crime, / Pure chaos he bring.”
I’ve heard starrier performances, but none that made a more powerful case for this masterwork.
As we also saw last year, Festival O19 ended on a sweetly quiet note, movingly connecting Opera Philadelphia with the larger city and our musical future.
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
We convoke for Dido and Aeneas in an arched tunnel a city block long, lit by candles in the many recesses.
How do you like your Carmen? Mezzo or soprano? Flirtatious? Confrontational? Smolderingly sexy?
Washington National Opera’s lukewarm Alcina, unthreateningly misguided in both its musical and theatrical values, made little impact.
So, how excited are you to read another piece about the Mary Zimmerman Rusalka?
The unevenly-beating Heart unfortunately proved less than the sum of its deluxe parts.
Emilio Sagi’s production of The Barber of Seville is ungepotchket in the flesh.
Christopher Alden‘s production of Handel’s Partenope is so erudite and theatrically audacious and also such a rollicking ride, it’s hard to believe it isn’t crap.
Rule Britannia? Often during the Olympics that famous number from Thomas Arne’s 1740 Alfred echoed in my ears.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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