The bonkers, bewildering Die ägyptische Helena begets a suitably lush musical and creative treatment at Bard SummerScape.
Baltimore Symphony Orchestra’s concert Rigoletto hits some vocal turbulence
Matthew Travisano has such doubts about Douglas Cuomo‘s opera recently seen at Opera Parallèle.
A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
There is a strong case to be made that George Fridrich Handel is the composer most suited to the present moment.
The first time I heard of Ermonela Jaho it was as the ultimate understudy. In the aughts it seemed that every time Angela Gheorghiu or Anna Netrebko or whoever canceled, Jaho was standing by.
Robert Carsen‘s legendary production of Eugene Onegin finally arrives in San Francisco.
With no disrespect to Nadine Sierra, who as Lucia acquits herself honorably if not magically in vocal terms, the undisputed cause célèbre here is director Simon Stone.
Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music and singing, it’s cordon bleu.
The opera utilizes the idea of “magical realism,” telling a realistic story combined with elements of magic and fantasy.
Winter weather has taken a toll on the cast of Lyric Opera of Chicago’s revival of Puccini’s Madama Butterfly.
While Russell Thomas admirably goes toe to toe with Otello (and Otello) in a thoughtful and self-aware way, the assumption feels like a work in progress if not an outright mismatch with his vocal gifts.
Bard SummerScape’s concert staging of Die Tote Stadt emerged triumphant thanks to Clay Hilley and Sara Jakubiak.
Blind Injustice is a masterpiece, brilliant theater.
Washington National Opera offered a shellshocked D.C. some much-needed diversion Saturday night, with a new production of La Fille du Regiment.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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