Ilana Walder-Biesanz reports from The Santa Fe Opera, where Tobias Picker‘s latest opera falls short, a new Rodelinda scintillates, and sumptuous singing abounds across the entire repertoire.
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
Will Liverman and Kiera Duffy brought an eclectic program to their jovial post-blizzard recital at Rhode Island College.
The St. Louis Symphony Orchestra under conductor Stéphane Denève plays up the schtick in a concert performance of The Magic Flute – and obscures Mozart’s magic in the process.
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.
A plodding La bohème in San Francisco never quite takes off
Cameron Kelsall reports on a transcendent Jenufa from the Cleveland Orchestra
By the time the curtain rose on Verdi’s Luisa Miller last Sunday in Washington Concert Opera’s final show of the season, the originally announced line-up was about as accurate as a federal agency org chart from February.
Before this weekend, I never thought I would want to leave an opera by Act I. The recent production of Puccini’s La bohème at the Lyric Opera of Chicago taught me that there’s a first time for everything.
Hailed as the first opera by an African-American composer performed at the Metropolitan Opera, Fire Shut Up in My Bones was a huge audience and box office hit in the Fall of 2021 when it reopened the Met after two seasons shut down by COVID-19.
It’s not hard not to feel jaded about Romeo and Juliet.
I watched the finals for this year’s George and Nora London Foundation competition and would like to offer, if not a traditional review, a brief roundup of who I found exceptionally watchable and whom I think you, dear parterre boxers, should watch out for in the next few years.
Let’s not forget that it’s only been two years since the Met mounted its first-ever opera by a Black composer.
David Devan may be leaving the company, but there can be no better living tribute to him than this extraordinary work, which in 90 minutes gives us everything we could want from a new opera
On June 20, a rather breezy, pleasant cool summer evening, the soprano Gabriella Reyes, tenor René Barbera and baritone Will Liverman took over the Summerstage space with a wide-ranging, ambitious recital program with Dimitri Dover tickling the ivories.
This was by far my most satisfying experience with Pelléas et Mélisande for a multitude of reasons and I encourage anyone who’s even mildly curious to find their way to the Music Center for a very rich experience.
Angel Blue‘s refulgent, lush soprano blooms as Violetta’s vocal lines broaden and soar.
A trip to Mediterranean climes came through musically, as the Boston Symphony Orchestra presented a largely satisfying concert performance of Don Giovanni on July 16.
The Met brought back 2019 smash Akhnaten last night, with nearly the exact same cast and creative team, and with nearly the same knockout effect of three years ago.
A co-production of Lyric Opera of Chicago, the Metropolitan Opera, and Los Angeles Opera, Fire Shut Up In My Bones blazed into Chicago as a stunning, highly emotional and moving performance.
Kennedy Center could not have predicted just how aptly Saturday evening’s rescheduled recital of 2020 Marian Anderson Award winner, baritone Will Liverman, would respond to the moment.
Friday evening’s Met premiere of Akhnaten was a resounding triumph and an outstanding testament to Philip Glass’s enduring operatic vision.
David Alden’s acclaimed production of Leos Janácek’s Jenufa was mounted for its final performance of the season during the evening that I experienced my first opera at Santa Fe.
It’s a wonderful idea to cast Bohème with young singers, and these delivered astonishingly assured, confident, mature performances.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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