Ilana Walder-Biesanz reports from The Santa Fe Opera, where Tobias Picker‘s latest opera falls short, a new Rodelinda scintillates, and sumptuous singing abounds across the entire repertoire.
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.
I had some trepidation about attending Terence Blanchard’s opera Champion because the “sport” of boxing has never appealed to me.
A co-production of Lyric Opera of Chicago, the Metropolitan Opera, and Los Angeles Opera, Fire Shut Up In My Bones blazed into Chicago as a stunning, highly emotional and moving performance.
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
Bard cultish Summerscape series continues to test our esoteric limits with Demon, Anton Rubinstein’s little-known opera about a demon who hankers for a Georgian princess.
Washington National Opera continued a focus on recent works this season with Terence Blanchard and Michael Cristofer’s 2013 opera Champion on the life of boxer Emile Griffith.
There was a certain frisson in the air entering Chicago Lyric Opera last night, and not just in anticipation of attending the world premiere of a new work by Jimmy Lopez (music) and Nilo Cruz (libretto), Bel Canto.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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