The music was at every point dramatically compelling, without seeming cheap or manipulative.
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.
But pressing questions remains: Why? Who is this Figaro for?
Opera has always been Orpheus-obsessed.
Madama Butterfly is the opera of the moment.
Mezzo-soprano Daniela Mack appeared at the Kennedy Center Terrace Theater this past Thursday with pianist Keun-A Lee in a thoughtful and distinctly personal recital program presented by Vocal Arts DC.
The tragic speaker of Schubert’s Winterreise makes his fateful journey but once, yet some singers cannot help trodding the path again and again.
“What I am trying to achieve is to be what I am to the fullest. Black to the fullest, a musician to the fullest, a homosexual to the fullest.”
Washington Concert Opera’s season opened with a triumphant performance of Gioachino Rossini’s rarely heard Ermione Saturday night at George Washington University in D.C., led by Antony Walker and a stellar quartet of principals in Angela Meade, Lawrence Brownlee, David Portillo, and Ginger Costa-Jackson.
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
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.
Mezzo-soprano Fleur Barron showed herself unafraid to move the expectations of classical music forward, linguistically, thematically, and culturally.
This is likely the best Giargiari Bel Canto competition year in my experience, evidenced in several important ways.
Rodrigo is a ball-breaking role, but Lawrence Brownlee makes the demands sound easy—tossing in additional high notes and audaciously decorating cabalettas as if it were the easiest thing in the world.
Reunited and it feels so good!
Ana Maria Martinez is an artist of the first caliber, which was richly evident throughout this imaginative, substantial (nearly two hours!) program, which was (thank you!) offered without a music stand.
There was something very Russian—indeed, Chekhovian—about the mix of joy and tears, as the Academy of Vocal Arts performed Tchaikovsky’s Eugene Onegin
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.
Lawrence Brownlee and Michael Spyres are two singers at the top of their game, as this concert showed, virtually peerless in music as punishing as it is pretty.
American soprano Gianna Rolandi died Sunday morning, according to a number of her friends and colleagues. She was 68.
April is the cruelest month, the song tells us—but this year, it was a week later. Ghenady Meirson, Philadelphia’s master of Russian Opera and coach extraordinaire, died on May 8.
Opera is back, baby, and it’s good to be home!
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.