He plays the violin
This Bard production, led by Leon Botstein, makes the strongest possible case musically, dramatically and visually for Smetana’s opera Dalibor.
16 pieces since 2016 — in 13 roles, at 10 companies, most often at Washington National Opera.
This Bard production, led by Leon Botstein, makes the strongest possible case musically, dramatically and visually for Smetana’s opera Dalibor.
Joel Puckett and Minnesota Opera hit it out of the park.
The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.
It surprises even me how some operas have eluded me in live performance even after lo, these many years. One of them is Gounod’s Roméo et Juliette.
The (R)evolution of Steve Jobs at the Kennedy Center: not a poorly made opera, but so relentlessly mid.
Bay Area composer Mason Bates’s and librettist Mark Campbell’s contemporary opera about the life of the tech mogul Steve Jobs came home “to the place where it all began” in spectacular fashion
A high-drama Vanessa by the Boston Symphony Orchestra offers something to believe in.
Composer Garrett Fisher and librettist Ellen McLaughlin’s Blood Moon wears its themes on its sleeve to great success in this spellbinding new opera.
Operatic history can be cruel where multiple works with the same subject are concerned
Tosca, as it exists now, can’t be real, spontaneous drama-it’s just Camp.
My vision may have been slightly blurry at the end.
When it premiered at the Opéra Comique in 1875, Carmen shocked audiences with its frank depictions of female sexuality, the proletariat, and violence: subjects that have ensured the piece’s continued relevance and that have inspired numerous retellings and revisions.
This Carmen, in other words, was somewhat less radical than its initial image suggested.
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