Madama Butterfly confronts anime, virtual reality, and weeaboos in Matthew Ozawa‘s bold production at the Lyric Opera of Chicago.
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.
When Angela Meade and Michael Fabiano first sang Lucia together as students at AVA few would have predicted that they would go on to sing Turandot 16 years later.
Eli Jacobson on a luscious evening of early Strauss with Guntram at Carnegie Hall
Phil Chan described his point of departure for reimagining Orientalist works as the question, “what else could this be?”
It’s nasty world, Shostakovich seems to say, where life alternates between boring and terrifying.
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.
Winter weather has taken a toll on the cast of Lyric Opera of Chicago’s revival of Puccini’s Madama Butterfly.
If Sunday’s performance of Magic Flute at the Met demonstrated one thing, it is that opera targeted at children must be just as good as (if not better than) opera targeted at adults.
My takeaway from this evening is that I want to hear a lot more from Amber Wagner.
Jacques Offenbach’s Les contes d’Hoffmann has had a bumpy ride to its pride of position in the current French repertoire.
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.
Lyric Opera of Chicago’s 2016-17 season got off to an exciting start on Saturday night with Wagner’s Das Rheingold.
This was a Rosenkavalier that aspired to excellence and almost achieved it.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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