Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
Music Director Eun Sun Kim is at the center of the repertory, and a long Wagner arc is now officially underway
Love makes fools of us all – that seems to be the theme of this summer’s Glimmerglass Festival.
“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?”
San Francisco Opera has unveiled a brand-new production of Giuseppe Verdi’s warhorse classic La traviata, the first “to be built in San Francisco Opera’s scene and costume shops in 35 years.”
Antony and Cleopatra was an auspicious start to San Francisco Opera’s second century, a performance that seems to improve as I continue to think about it.
The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.
We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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