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.
Washington National Opera presented a well-sung and humorous Marriage of Figaro, buoyed by clever direction and a strong cast, particularly Rosa Feola’s Countess and Joélle Harvey’s Susanna.
The women were the highlights of Washington National Opera’s militaristic Aïda
Adela Zaharia and Amartuvshin Enkhbat shine brightly in San Francisco Opera’s opening night Rigoletto.
An impressively well-rounded revival of Francesca Zambello‘s production of Porgy and Bess concludes the Washington National Opera season
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.
If it is true that there are few respectable ways for people over 40 without small children to celebrate Halloween, a performance of Richard Strauss’ pioneering horror opera Elektra belongs on the short list.
The opera utilizes the idea of “magical realism,” telling a realistic story combined with elements of magic and fantasy.
Luisa Miller snowballs toward disaster and death.
In our current political climate with issues of immigration, tribalism, and white nationalists, the 1957 musical West Side Story has a distinctly contemporary feel.
What if you could time travel back to the first run of Giuseppe Verdi’s first great success Nabucco?
Aida certainly has its longueurs.
Washington National Opera offered a shellshocked D.C. some much-needed diversion Saturday night, with a new production of La Fille du Regiment.
Well, that didn’t last long.
Washington National Opera’s first Ring Cycle came to a bittersweet conclusion this past Sunday, closing the door on an extraordinary three weeks in the opera house and a remarkable musical and theatrical achievement for the company.
Happily, this Rheingold, which returned to the Kennedy Center Saturday night to open the first of three complete cycles, has been shorn of its clumsier gestures.
You might be surprised, though, when that title turns out to be Show Boat.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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