Brett Dean‘s Of One Blood casts a well-trodden Tudor tale in a poignant, new light.
Le nozze di Figaro in Santa Fe is a light and kindly revival while The Turn of the Screw is crisp and atmospheric
Turmoil and injustice in the federal government; turmoil and grief in the Catholic Church: the time sure seems right for a staging of Francis Poulenc’s Dialogues des Carmélites.
LOC’s Ernani is a satisfying evening of Verdi sung by four stars at the height of their powers.
I must confess to feeling a bit of “Tosca fatigue” as I entered the Lyric Opera of Chicago house for Wednesday’s matinee of the Puccini standard.
Young voices ringing out Stravinsky’s witty melodies at close quarters gives great pleasure if you are fond of this witty score and its many parodies of early operatic cliché.
Remember that time you went to the opera and the whole evening was like magic? Saturday night at the Dorothy Chandler Pavilion probably ranks among my greatest nights in the theater and I’m finding the superlatives in my thesaurus inadequate to the task.
Winter weather has taken a toll on the cast of Lyric Opera of Chicago’s revival of Puccini’s Madama Butterfly.
Minnesota Opera’s stab at boosting revenue with extra performances of something surefire never caught fire.
For opening night of the new LA Opera season Placido Domingo decided to return to one of his best Verdi showcases, Don Carlo, only this time as the baritone, Rodrigo the Marquis di Posa, instead of the title character.
It is always a pleasure to hear a great orchestra take on a major score that might sound half-muffled emerging from the pit of an opera house.
As portrayed by Vittorio Grigolo, Nemorino was a manic self-absorbed, probably bipolar, stalker who—against all odds and good sense—gets the poor girl.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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