Washington National Opera’s second full-run offering of the season, a new production of Verdi’s perennially appealing Macbeth, premiered last Wednesday at the Kennedy Center.
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Washington National Opera rounded out its season opening weekend with a one-night-only performance entitled “Gods & Mortals: A Celebration of Wagner” the evening after the premiere of its new production of Fidelio.
If Zambello’s season-ending Turandot last year represented some of the best of what WNO can offer in the standard rep, this Fidelio was a regression to the mean.
Washington National Opera’s final production of the season, seen May 22, is also its high point: a new Turandot directed by Francesca Zambello, updated to the 20th century and featuring the world premiere of a completion of Puccini’s score by composer Christopher Tin and playwright and screenwriter Susan Soon He Stanton.
Opera at the Kennedy Center has been in hibernation this winter.
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
Chopping up the action and dutifully showing each plot point may work in a film but in an opera, where every piece of marginal dialogue must be set to music, it feels like a chore.
Originally scheduled for a D.C. premiere in spring 2020 but thwarted by the pandemic, Washington National Opera was finally able to present composer Jeanine Tesori and librettist Tazewell Thompson’s Blue at the Kennedy Center last Saturday.
If it is true that there are few respectable ways for people over 40 without small children to celebrate Halloween, a performance of Richard Strauss’ pioneering horror opera Elektra belongs on the short list.
It’s maybe not a surprise that Carmen is neither a good vocal nor temperamental fit for Isabel Leonard.
In 2022, making Così fan tutte intimate is not a radical act. Making it enjoyable, however, is.
As long as women have been preyed upon, Don Giovanni has been relevant.
Renée Fleming—stylish dame with a stylish name—who lived by jungle law in a big city and clawed her way to where the money was…
While Russell Thomas admirably goes toe to toe with Otello (and Otello) in a thoughtful and self-aware way, the assumption feels like a work in progress if not an outright mismatch with his vocal gifts.
Tosca, as it exists now, can’t be real, spontaneous drama-it’s just Camp.
Is there any opera that can take more of a beating while still making an impact than Eugene Onegin?
Give the creators credit for producing an emotional response.
The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.
I mean, how often does one get to hear Bernstein’s gorgeous, rollicking, and varied score nursed by a full orchestra and the artistic resources of an opera company?
A regular day in 2018 Washington, D.C., or Verdi’s Don Carlo?
Out of a literal perforation in the horizon of the Nebraskan prairie emerges Proving Up, the most convincing case I have ever seen for modern American opera.
In November, everyone wanted to hear more about Jonas Kaufmann‘s Johnson.
Washington National Opera’s lukewarm Alcina, unthreateningly misguided in both its musical and theatrical values, made little impact.
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