Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await him.
Soprano Amanda Forsythe as Ilia and tenor David Portillo in the titular role were highlights of Washington Concert Opera’s robust Idomeneo.
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
Washington Concert Opera began its 39th season last month with Christoph Willibald Gluck’s late masterpiece Iphigénie en Tauride.
It is a physical pleasure to hear Kate Lindsey at close quarters.
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.
Who knew that rehearing a performance you believed had become nothing more than a cherished memory would have such healing properties during a time of bereavement?
Washington Concert Opera delved into Mozart for the first time earlier this month with the composer’s once neglected penultimate stage work, La Clemenza di Tito, led by Maestro Antony Walker.
Folks who have never attended a full-length, uncut Giacomo Meyerbeer grand opera have been known to pout and ponder: Why did the most popular opera composer of the mid-nineteenth century all but vanish from the stages of the world after a hundred years?
After a century of searching, the world has perhaps finally found a definitive Magda in ethereal soprano Ailyn Pérez.
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.
The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
While the formulaic nature of some of Rossini’s other operas can undermine his ability to balance bravura singing and playing with legitimate drama, a concert Maometto II proves, with what it offers as much as what it lacks, that the formula still works.
Michael Fabiano in one of his specialties as the dashing hero of Il corsaro torn between Tamara Wilson and Nicole Cabell.
One of the more unfortunate losses from the Met’s closure is its revival of Simon Boccanegra, so Trove Thursday steps up with a 1975 Berlin performnace of Verdi’s dark masterpiece with Ingvar Wixell, Gundula Janowitz, José van Dam and Bruno Prevedi.
South African Jacques Imbrailo’s high-lying baritone did much to highlight the lyrical possibilities of the title role of Hamlet, originally conceived for a tenor.
Trove Thursday presents Michael Fabiano in one of his specialties as the dashing hero of Il Corsaro torn between Tamara Wilson and Nicole Cabell.
Zelmira, a work of 1822, was the last of the eight operas Rossini composed for the Teatro San Carlo in Naples, then the largest opera house in Italy—perhaps in Europe.
Washington Concert Opera on the occasion of Gounod’s 200th birthday presented the American premiere of his first opera, Sapho.
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
Vincenzo Bellini’s La Straniera was presented at George Washington University’s dreary Lisner Hall on Sunday.
The rewards of Leonore lie almost as much in the ensembles as the solo contributions.
Operatic history can be cruel where multiple works with the same subject are concerned
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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