Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
Carl Orff’s cantata tries its fortunes at the Lyric Opera of Chicago.
Cavalleria rusticana and Pagliacci at Lyric Opera of Chicago are hysterical in all the wrong ways.
Seeing Sondra Radvanovsky as Medea at Lyric Opera of Chicago sprawled across the floor, soaked in her children’s blood, is proof that we’re witnessing an utterly haunting singer-actor.
Missy Mazzoli has established herself as one of contemporary opera’s most skilled and subtle architects of emotional response, and her latest, The Listeners—now at the Lyric Opera of Chicago—is no exception.
Lyric Opera of Chicago has opened its new season with a revival of its tried and true 2006 production of Verdi’s sixteenth opera, Rigoletto, one of his most tuneful and dramatic works (I attended the Sunday matinée performance).
Since I began regularly attending performances at Lyric Opera of Chicago in 1999, I have been a great admirer of director Francesca Zambello’s productions.
I had some trepidation about attending Terence Blanchard’s opera Champion because the “sport” of boxing has never appealed to me.
Instead of following the story, we in the audience spend most of the evening thinking “What?? Why is that happening?”
Lyric Opera of Chicago’s Don Carlos was a real feast of good singing and orchestral grandeur.
Lyric Opera of Chicago’s Le Comte Ory was a lovely cake with waaaay too much frosting.
LOC’s Ernani is a satisfying evening of Verdi sung by four stars at the height of their powers.
Hie thee hither to the Lyric Opera House!
This is an exuberant, uplifting, and joyous Elisir, and, for once, it was actually laugh-out-loud funny.
Luisa Miller snowballs toward disaster and death.
Michael Fabiano is a boss. This is a fact.
La Fille du Régiment, Donizetti’s half-spoken ode to La France about a girl raised by a division of daddies, is at once infamous and beloved for the string of nine high C’s capping act one.
It was an afternoon of spectacular singing, particularly from the two principals and the glorious Lyric Opera Chorus.
The UK’s first-ever production of Poliuto, now available from Opus Arte on DVD, set the lions of Rome among the lambs of Glyndebourne.
Donizetti’s bel canto masterpiece Lucia di Lammermoor returned to Chicago Lyric Opera on Saturday evening.
As portrayed by Vittorio Grigolo, Nemorino was a manic self-absorbed, probably bipolar, stalker who—against all odds and good sense—gets the poor girl.
It appears that Mariame Clément’s conception of Don Pasquale is that the opera should be retitled Malatesta.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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