Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
Carl Orff’s cantata tries its fortunes at the Lyric Opera of Chicago.
Breaking the Waves and Tannhaüser at Houston Grand Opera are a can’t-miss doubleheader of sex and miracles.
And is this ‘Orpheus’ in the room with us right now?
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.
It is perhaps a misperception to suggest that Die Schweigsame Frau is stronger in the uncut version.
On the first viewing of this Idomeneo, with a cast clad mostly in military khaki green set against a green sky, the eye starts to tire from the dullness of the surroundings.
I never imagined I’d see such a rote park-and-bark Wagner production created in 2020!
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.
Those readers who know my musical tastes will not be shocked to find that I have a somewhat conflicted view of Mozart’s operatic works.
The most distinct pleasure of The Merry Widow at the Metropolitan Opera was the polished, yet warm, performance of Susan Graham as Hanna Glawari.
Just because one can write an opera based on a film, does this necessarily indicate that one should?
I don’t usually attend a performance of an opera I’ve known well most of my life expecting a revelation.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
Absent from Chicago Lyric Opera’s repertory for 21 years, Alban Berg’s Wozzeck came roaring into town on Sunday afternoon in a stunning new production by Sir David McVicar.
Almost exactly one hundred years ago on March 18, 1912, the Metropolitan Opera gave its final performance to date of Armide.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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