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.
By David Fox
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As we continue to watch the world of live performance come cautiously back to post-COVID levels, I felt the greatest surge of joy so far when I saw Opera Philadelphia’s announcement of their 2022-23 season—and most especially, the reboot of Festival O.
By David Fox
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.
By David Fox
Opera is back, baby, and it’s good to be home!
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.
By David Fox
A particularly heartbreaking aspect of the pandemic shutdown has, of course, been helplessly watching rising artists have their careers plunged into indefinite silence. But for a few bold souls who are willing to try new things, the moment has also opened doors.
By David Fox
I’ve heard starrier performances, but none that made a more powerful case for this masterwork.
By David Fox
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
Employing the most slimly elegant resources, Festival O’s Denis & Katya is a monumental, dramatically shattering event.
By David Fox
Opera Philadelphia’s Love of Three Oranges is never less than extravagantly entertaining theater.
By David Fox
It’s a wonderful idea to cast Bohème with young singers, and these delivered astonishingly assured, confident, mature performances.
By David Fox
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
By David Fox
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.
By David Fox
Those who want a rethought Lucia to allow the heroine more sense of agency will be especially confounded at Laurent Pelly’s reading.
By David Fox
It would be hard to imagine a more apt and poignant metaphor for the ambitious O18 Festival than the world premiere of Lembit Beecher and Hannah Moscovitch’s Sky on Swings.
By David Fox
How do you like your Carmen? Mezzo or soprano? Flirtatious? Confrontational? Smolderingly sexy?
By David Fox
Opera Philadelphia ended its season with Le Nozze di Figaro, Friday, and it will play May 3, 5, and 7—a matinee. Figaro is considered by most to be one of the few perfect operas and although it’s perhaps too easily encountered in routine run-throughs, there are usually rewards in seeing it.
Opera Philadelphia announced today that Lawrence Brownlee has joined the company as an Artistic Advisor.
By La Cieca
Tancredi, given on February 10th, was a credit to Opera Philadelphia, who offered a well-considered and compelling production.
How Verdi’s opera might address this particular nightmare was unclear.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
In Charlie Parker’s Yardbird, an opera based on the famed jazz musician’s life, the title character asks, “So if there is a God, why does the negro suffer? Is my prayer, my music lesser, smaller in God’s eyes?”
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
