Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
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.
A new production of Parsifal at San Francisco Opera stirred something deep inside Michael Anthonio about how music soothes the soul
West Side Story opened LA Opera’s 40th anniversary season with fury and flair
An innovative score and fluid production by Denyce Graves-Montgomery are highlights of Virginia Opera’s production of Loving v. Virginia
Lyric Opera of Chicago has brought back its wildly successful 2019 production of West Side Story, directed by Francesca Zambello. I thought it was terrific back then and, even with numerous cast changes, it was just as terrific on Sunday afternoon.
There are no words superlative enough to describe this celebration of Orpheus’ grief, and I truly applaud San Francisco Opera for presenting such food for thought that will definitely resonate long after with me.
Yuval Sharon at Boston Lyric Opera has brilliantly found an interpretative middle ground for La bohème by presenting the acts in reverse order.
Ludwig van Beethoven’s “rescue opera” Fidelio was presented by San Francisco Opera as their first new production of the season last Thursday in reinterpreted fashion.
In our current political climate with issues of immigration, tribalism, and white nationalists, the 1957 musical West Side Story has a distinctly contemporary feel.
Sunny, lakeside Cooperstown presents a peppy, exuberant, winning production of West Side Story, the musical.
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
Radvanovsky delivered a vocal and histrionic performance that should be the gold standard Norma for years.
Having heard a bit of the opening night broadcast and read some decidedly mixed reviews, I was totally unprepared for the remarkable performance of Donizetti’s Anna Bolena that I attended on December 15 at Chicago Lyric Opera.
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
It seems a thing incredible but fifty years ago Richard Strauss was regarded as the wunderkind composer of a few tone poems, three notable operas (all produced before the First World War) and then nothing notable during forty years of repetitious senility. Even Ariadne auf Naxos, today one of the most popular works in the…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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