Slice of life
Washington National Opera presented the fourth annual installment of its “American Opera Initiative” series in the Kennedy Center Terrace Theater Wednesday evening.
13 pieces since 2015 — in 9 roles, at 5 companies, most often at Metropolitan Opera.
Washington National Opera presented the fourth annual installment of its “American Opera Initiative” series in the Kennedy Center Terrace Theater Wednesday evening.
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.
Il trovatore may be famous for its melodramatic plot and unlikely mistaken identities, but surely even Verdi and Cammarano couldn’t have imagined the chaos of a performance featuring two Manricos and two Leonoras.
Let’s not forget that it’s only been two years since the Met mounted its first-ever opera by a Black composer.
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)
Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
One got a sense that the Met and the maestro directed most of the rehearsal and preparation toward the opening night premiere of the Heggie opus
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
A Pasolini-inspired Tosca at La Monnaie does not quite find the pleasure in the pain.
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