Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
The Santa Fe Opera’s fine first Die Walküre finds Wagner in America at a crossroads.
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.
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”
The audience greeted the opening night of Omar with more genuine enthusiasm than I have ever seen at Los Angeles Opera.
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.
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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