The dazzling and deeply moving Complications in Sue bodes well for Anthony Roth Costanzo‘s stewardship of Opera Philadelphia.
Two opera houses, both alike in dignity (but less so in resources and international fame) launched their seasons this week, making similar out-of-the-box choices: new works on edgy, contemporary themes.
“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”
Originally scheduled for a D.C. premiere in spring 2020 but thwarted by the pandemic, Washington National Opera was finally able to present composer Jeanine Tesori and librettist Tazewell Thompson’s Blue at the Kennedy Center last Saturday.
It’s maybe not a surprise that Carmen is neither a good vocal nor temperamental fit for Isabel Leonard.
Opera Philadelphia’s return to the stage after two years was greeted by a cheering crowd who clearly would have been happy to stay longer, but as director David Devan acknowledged, this was a step in a continuing trajectory.
From an exposure standpoint, Ruth Bader Ginsburg was the best thing to happen to opera since Beverly Sills.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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