Work on ‘Progress’
Young voices ringing out Stravinsky’s witty melodies at close quarters gives great pleasure if you are fond of this witty score and its many parodies of early operatic cliché.
Review
Trouble in River City
Jerry Zaks’ high-gloss production, which trades heavily on a bland Americana at odds with the sharp satire of Meredith Willson’s libretto and timeless score, operates on all cylinders but fires on hardly any.
Moving on
The Kennedy Center’s Opera House was a white-hot crucible of theatre kid energy on Friday evening for a luxurious 50 Years of Broadway at the Kennedy Center gala.
Cries and whispers
Embedded in the discursive scenes that make up the 100-minute play Shhhh is the notion that the line between pleasure and pain—of the corporeal and psychological varieties—is ever-shifting and often problematically conceived.
Vastly vivid
Lyric Opera of Chicago scored a smashing success on Sunday with its “Verdi Voices” concert, featuring soprano Tamara Wilson, tenor Russell Thomas, and Lyric Music Director Enrique Mazzola conducting Members of the Lyric Opera Orchestra in what might be termed a program of Verdi’s Greatest Hits.
There are fascists at the bottom of our garden
It’s 1938. We know, even if the characters do not, how the story will end.
Playing the diva vs. being the diva
In the last weeks of January, as the Metropolitan Opera season wound to a close (prior to the winter hiatus) two striking sopranos were thrust into the limelight.
When you wish upon a scar
So that there’s no confusion: the Long Day’s Journey into Night seen here is contemporary, political, brutal, and universal.
I will remember you
Only time can tell if some performances enter the collective opera memory, if such a thing even exists, as “historical”
I want your Rex
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.
Midwinter marriage
Despite having lost its announced Cherubino, conductor and Count (the latter in the midst of rehearsals), the season premiere of Le Nozze di Figaro Saturday afternoon proved to be one of the most enjoyable Met Mozart performances I’ve attended in ages.
Any old palace
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
Conversation piece
The sonic wizards of the Netherlands at Pentatone have released their latest in the series of Maestro Lawrence Foster’s studio opera recordings. Reunited with his Lisbon forces, the Gulbenkian Orquestra and Coro, for a fresh take on Puccini’s three-hanky weeper.
A Messy Little Christmas
Part vaudeville, part opera concert and part drag ball, Heartbeat Opera’s pageant was like a cup of eggnog spiked with a dash of LSD.
After midnight
The Met’s Cinderella is a charming adaptation of Massenet’s opera. Frothy, fun, and enchanting, it is a magical holiday treat for the whole family to enjoy.
Every little thing she does is magic
A good time seemed to be had by all though I don’t recall seeing a single child in attendance.
Everything new is old again
I see in Kimberly Akimbo an audacious idea, once unthinkable territory for a musical, which is realized through a highly imaginative and often unpredictable use of song and especially open-ended ensemble writing.
Sorry/Ungrateful
Katrina Lenk’s Bobbie dutifully channels an assertive, contemporary, sexually confident female persona, but it doesn’t feel fully realized or convincing.
A certain theatrical precision
Sondra Radvanovsky was a force of nature as Tosca on Thursday night at the Met.
City of angels
In spite of the fact that Rossini and his librettist Jacopo Ferretti removed all the magical elements from the story, therefore making it far easier to produce, there was more than enough enchantment in the singing, and intermittently in the production to enjoy.
In my very own private hell
No, we don’t really need another “Orpheus” opera. Or, rather, we don’t need this one.
The river of dreams
The opera utilizes the idea of “magical realism,” telling a realistic story combined with elements of magic and fantasy.
The second time around
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.
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).