Richard Lynn bravely asks what we’re hoping to get out of the continued Peter Gelb-bashing — and whether our expectations of him have ever been fair
A fine Don Giovanni at Opera Philadelphia rounds out the company’s inaugural season under Anthony Roth Costanzo
John Yohalem wraps up Donizetti Month at parterre box with a look back at nearly six decades of Donizetti operagoing.
On this day in 1883 the Metropolitan Opera House opened with Gounod‘s Faust.
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.
No show should last 20 years.
The sharp and glitzy national tour production of Six doesn’t suffer from a sense of staleness due to familiarity.
Opera Philadelphia’s return to the stage after two years was greeted by a cheering crowd who clearly would have been happy to stay longer, but as director David Devan acknowledged, this was a step in a continuing trajectory.
Opera Philadelphia Channel invites viewers to revisit a 2015 production of La Traviata, captured on the Academy of Music stage, that’s notable for Lisette Oropesa’s debut as Violetta Valéry.
Take it as a high compliment to the harrowing, riveting Soldier Songs that I was grateful it lasted only one hour. My nerves couldn’t have handled more.
As Julia Child, Jamie Barton is clearly having the time of her life.
I’ve heard starrier performances, but none that made a more powerful case for this masterwork.
Employing the most slimly elegant resources, Festival O’s Denis & Katya is a monumental, dramatically shattering event.
Opera Philadelphia’s Love of Three Oranges is never less than extravagantly entertaining theater.
It may have taken 28 years to see Robert Carsen’s production of Britten’s A Midsummer Night’s Dream in the U. S., but it was worth waiting for.
When I moved back to Philadelphia a few years ago, I reached out to Albert Innaurato.
Tancredi, given on February 10th, was a credit to Opera Philadelphia, who offered a well-considered and compelling production.
Cocooned in an amiable production of Theo Morrison‘s revised Oscar, David Daniels flew to new heights in the congenial title role.
Again dipping into the rich archive of live recordings remastered and made available by the late Mike Richter, we find this selection from his early disc “Odd Opera 2.”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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