An innovative score and fluid production by Denyce Graves-Montgomery are highlights of Virginia Opera’s production of Loving v. Virginia
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.
Love makes fools of us all – that seems to be the theme of this summer’s Glimmerglass Festival.
Phil Chan described his point of departure for reimagining Orientalist works as the question, “what else could this be?”
Okay, let’s get the silly jokes out of the way first. Around our house, we’ve been referring to this alternately as Merrily We Bohemians Roll Along, or Emèhob Al.
Like many composers of his generation, Ernest Chausson was enthralled by Wagner and he too turned to legend for his only opera, one that would consume him for final decade of his brief life.
It’s a wonderful idea to cast Bohème with young singers, and these delivered astonishingly assured, confident, mature performances.
Those who want a rethought Lucia to allow the heroine more sense of agency will be especially confounded at Laurent Pelly’s reading.
A regular day in 2018 Washington, D.C., or Verdi’s Don Carlo?
Going into Washington National Opera’s final presentation of the season, Madama Butterfly, I feared that I might be geisha’d out.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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