Natural woman
I do not envy Jennifer Rowley the task of stepping into Anna Netrebko’s shoes.
11 pieces since 2010 — in 8 roles, at 6 companies, most often at Metropolitan Opera.
I do not envy Jennifer Rowley the task of stepping into Anna Netrebko’s shoes.
The women were the highlights of Washington National Opera’s militaristic Aïda
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.”
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
The Post decided to pass on a review of the Caramoor Maria di Rohan (July 24), but the presentation is definitely worth a mention and some discussion, so let’s take it to parterre.
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
La bohème is such a popular romantic opera that hardly anyone ever notices that Mimì and Rodolfo undergo what in modern terms would be called speed dating.
The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops.
Soprano Iulia Isaev proved to be in just about every way a lovely Tosca.
Though orchestrally lavish, this “semi-staging” delivers less theater than no staging at all.
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