Which side story?
Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
Francesca Zambello
65 pieces since 2005 — at 11 companies, most often at Washington National Opera.
65
pieces
11
companies
22
years
16 pieces as Washington National Opera — stats above show all coverage for Francesca Zambello.
View all
Which witch?
Washington National Opera offered a searing production of Robert Ward’s opera The Crucible, directed by WNO Artistic Director Francesca Zambello, as the second installment in the company’s next chapter.
“By boycotting us, you are killing art”
Brendan Latimer sits down with Francesca Zambello and members of the cast of Washington National Opera’s production of Aïda to discuss the complicated legacy of one of Verdi’s most beloved works and the tricky business of “inventing the truth.”
Summertime lovin’
An impressively well-rounded revival of Francesca Zambello‘s production of Porgy and Bess concludes the Washington National Opera season
Next to godliness
Washington National Opera rounded out its season opening weekend with a one-night-only performance entitled “Gods & Mortals: A Celebration of Wagner” the evening after the premiere of its new production of Fidelio.
Jailbird song
If Zambello’s season-ending Turandot last year represented some of the best of what WNO can offer in the standard rep, this Fidelio was a regression to the mean.
The red attachment of women
Washington National Opera’s final production of the season, seen May 22, is also its high point: a new Turandot directed by Francesca Zambello, updated to the 20th century and featuring the world premiere of a completion of Puccini’s score by composer Christopher Tin and playwright and screenwriter Susan Soon He Stanton.
Last dance
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.
Room temperature
It’s maybe not a surprise that Carmen is neither a good vocal nor temperamental fit for Isabel Leonard.
Open and clothes case
From an exposure standpoint, Ruth Bader Ginsburg was the best thing to happen to opera since Beverly Sills.
Give ’em Hellman
I mean, how often does one get to hear Bernstein’s gorgeous, rollicking, and varied score nursed by a full orchestra and the artistic resources of an opera company?
Family values
A regular day in 2018 Washington, D.C., or Verdi’s Don Carlo?
‘Dead Man,’ stumbling
The opera is relentlessly obvious, a work that repeatedly turns to tired tropes and canned characters to fill up its nearly three hour run time.
A choice, not an ecosystem
Washington National Opera’s first Ring Cycle came to a bittersweet conclusion this past Sunday, closing the door on an extraordinary three weeks in the opera house and a remarkable musical and theatrical achievement for the company.
Burden of gilt
Happily, this Rheingold, which returned to the Kennedy Center Saturday night to open the first of three complete cycles, has been shorn of its clumsier gestures.
Win a Free Ticket to Opening Night at the Met!
Quinn Kelsey and Lise Davidsen star in the Met's new Macbeth. We're giving away one ticket, so screw your courage to the sticking place and enter now!
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
