Do the locomotion
As my friend and I Ubered out to the luxurious Cobb Energy Centre for Atlanta Opera’s La traviata, I had trains on the mind.
15 pieces since 2012 — at 6 companies, most often at Washington National Opera.
As my friend and I Ubered out to the luxurious Cobb Energy Centre for Atlanta Opera’s La traviata, I had trains on the mind.
Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
Washington National Opera’s second full-run offering of the season, a new production of Verdi’s perennially appealing Macbeth, premiered last Wednesday at the Kennedy Center.
Hailed as the first opera by an African-American composer performed at the Metropolitan Opera, Fire Shut Up in My Bones was a huge audience and box office hit in the Fall of 2021 when it reopened the Met after two seasons shut down by COVID-19.
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
If it is true that there are few respectable ways for people over 40 without small children to celebrate Halloween, a performance of Richard Strauss’ pioneering horror opera Elektra belongs on the short list.
It’s maybe not a surprise that Carmen is neither a good vocal nor temperamental fit for Isabel Leonard.
From an exposure standpoint, Ruth Bader Ginsburg was the best thing to happen to opera since Beverly Sills.
As long as women have been preyed upon, Don Giovanni has been relevant.
Along with Don Giovanni, Carmen is an odd bird on the list of the most beloved and frequently performed works.
Renée Fleming is one of the most polarizing figures to be discussed here on an ongoing basis.
Cocooned in an amiable production of Theo Morrison‘s revised Oscar, David Daniels flew to new heights in the congenial title role.
After Heart of a Soldier, The Perfect American, The Gospel According to Mary Magdalene, et al., the premiere of Theodore Morrison’s Oscar in Santa Fe last Saturday came as a welcome relief.
Karol Szymanowski’s 1926 King Roger was the sleeper hit of SFO’s season, not so much for its weird, mystical theme and feeble libretto but because the music is powerfully effective.
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