LA Opera sent out an email warning that the production “contains depictions of blood, violence, and drug use, as well as strobe lights and a gunshot effect in Act III.”
The concert itself—starring Michael Fabiano, Nadine Sierra, Pene Pati and Lucas Meachem—seemed to be a beautiful affair that I would have loved to see it in a person.
Antony and Cleopatra was an auspicious start to San Francisco Opera’s second century, a performance that seems to improve as I continue to think about it.
This tenor must be the finest classical singer in the world today.
LOC’s Ernani is a satisfying evening of Verdi sung by four stars at the height of their powers.
Philadelphia’s memorably if quirkily named Idiopathic Ridiculopathy Consortium deserves to be better known.
The New York City Opera has become an elusive “now you see it, now you don’t” presence in the New York opera scene since the departure of main sponsor and chairman of the board Roy G. Niederhoffer in 2019.
Sor Juana Inés de la Cruz is perfect figure for an opera; known, but not known enough, especially in English-speaking countries, with a life that involved plenty of love, poetry and tragedy.
No uneasy stock market or rickety roller coaster has generated more stomach-churning highs and lows than the musical Dear Evan Hansen.
The smile for the fools is especially broad this summer in the Berkshires, where a charming revival of A Little Night Music opened recently at Barrington Stage Company.
I felt that the whole performance at West Edge Opera on Sunday was greater the sum of its parts, particularly due to the dedication of the whole cast and crew amidst all adversities.
The July-August timeframe in the San Francisco Bay Area is always exciting time in terms of opera.
Having had many memorable encounters with these characters before, I had been looking forward to encountering them again in an ambitious contemporary Oresteia, but I left the Armory feeling that writer-director Robert Icke just didn’t get it.
It is perhaps a misperception to suggest that Die Schweigsame Frau is stronger in the uncut version.
Gregory Spears’ latest opera Castor and Patience, with a libretto by former US Poet Laureate and Pulitzer Prize-winner Tracy K. Smith, was commissioned by Cincinnati Opera to celebrate its centennial season in 2020.
This Traviata remained firmly Beltway-bound and by the time I had gotten home, the 45-minute traffic jam to leave the parking lot was eminently fresher in my mind than the evening’s performance.
Only three years separate the creation of The Most Happy Fella (1956) and The Sound of Music (1959), but there’s a proverbial ocean between these two Golden Age musicals are being performed at prestigious festivals this summer.
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.
Since April four wildly varied incarnations of Hamlet have been haunting New York City theaters; the most recent to arrive was Robert Icke’s chicly contemporary take on Shakespeare’s play which opened last week at the Park Avenue Armory.
On Thursday June 30th, San Francisco Opera closed their summer season with a one-night-only special concert celebrating Eun Sun Kim’s first season as the Caroline H. Hume Music Director, in an aptly named concert “Eun Sun Kim Conducts Verdi.”
People’s Light deserves commendation for resurfacing The Vinegar Tree, and there’s satisfaction in seeing a fine old play handled with care.
Director R.B. Schlather deftly walks a porous boundary, casting this primordial paroxysm of Germanness as a dialogue between its naïve and moralistic narrative with its outsized legacy.
The second act of Dream of the Red Chamber reached the apex and provided the audience with soul-stirring fulfillment.
Your favorite box set-aholic here completely missed the release last August of Giuseppe Di Stefano – Complete Decca Recordings in honor of the great tenor’s centenary.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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