Opera Theatre of Saint Louis does its best to give magic in its summer productions of Roméo et Juliette and A Streetcar Named Desired.
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
Happy was I to attend the Celebrity Opera Series presentation Saturday night at BroadStage, mere blocks from my humble abode in Santa Monica as Anglela Gheorghiu was making an eagerly awaited return for the first time since her debut here in 2013.
On June 16, San Francisco Opera concluded their excellent Centennial Season with a heartfelt 100th Anniversary Concert, featuring a starry cast, three conductors (including current and former Music Directors) and the SF Opera Orchestra and Chorus.
This Traviata remained firmly Beltway-bound and by the time I had gotten home, the 45-minute traffic jam to leave the parking lot was eminently fresher in my mind than the evening’s performance.
The Met recently submitted another eye-roll inducing entry for the Woke Olympics with their Women’s History Month slate.
Sunday’s matinee at Lyric Opera of Chicago was my first experience of Heggie and McNally’s 2000 opera Dead Man Walking. It certainly won’t be my last.
David Alden’s acclaimed production of Leos Janácek’s Jenufa was mounted for its final performance of the season during the evening that I experienced my first opera at Santa Fe.
“Fricka is on fucking vacation.”
Soprano Patricia Racette is superb in La Voix Humaine, a work that she makes absolutely her own.
Soprano Ashley Marie Robillard and mezzo Siena Licht Miller evoke a journey to Paris, Venice, Berlin, and London.
It would be hard to imagine a more apt and poignant metaphor for the ambitious O18 Festival than the world premiere of Lembit Beecher and Hannah Moscovitch’s Sky on Swings.
As the first of the 2018 opera productions last Saturday, the Merola Opera Program chose Mozart’s rarely-performed early serenata, Il re pastore.
Celebrating Lenny’s 100th this year has made Candide ubiquitous at opera houses worldwide.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
Flashes of excitement and genuine pathos lit up City Opera’s production of Dolores Claiborne!
I entered the Dorothy Chandler Pavilion on Saturday night for LA Opera’s 30 year old revival of their production of Salome with a combination of enthusiasm and apprehension.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
I can think of no other role that provides the most unique promise of humiliation, and consequently the most opportunity for glory.
I realized I hadn’t yet posted anything featuring one of the “Queens of the Bootlegs,” so I now correcting that with Puccini’s La Fanciulla del West starring the great Magda Olivero as Minnie.
Louis XVI, Marie-Antoinette, and a slew of their members of court are hanging out in the afterlife…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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