Cher Public

Home run

Rosina’s Turn

WNO’s season has been uneven at best with some outstanding performances in memory (Proving Up, Eric Owens and Melody Moore in Don Carlo, Tamara Wilson in Aïda) and others that fell flat. I expected the valedictory production of the 2017-18 season, The Barber of Seville, to be reflective of that unevenness, but it instead turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.  Read more »

Give ’em Hellman

As musical theatre and opera companies around the country race to celebrate the Leonard Bernstein centennial, the ubiquity of Candidefeels practically unavoidable. And at Washington National Opera, Francesca Zambello’s main gig when she’s not directing internationally or summering up in Cooperstown, Candide’s ubiquity feels wholly inevitable.  Read more »

Family values

An insecure leader hounded by hubris, his repressed, suppressed, and far-from-home younger wife, his tormented son whose own political life is hounded romance and tense alliances, a dangerously seductive third party set on bringing them all down, and a mysterious, threatening governing body that seems to be pulling the strings on the whole thing; a regular day in 2018 Washington, D.C., or Verdi’s Don CarloRead more »

Little house on the scary

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.

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Tales of the Bavarian baloney pony

In November, everyone wanted to hear more about Jonas Kaufmann‘s Johnson.

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Girl power

Washington National Opera’s lukewarm Alcina, unthreateningly misguided in both its musical and theatrical values, made little impact.

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I see flags, I hear bells, There's a parade in Memphis. Photo: Scott Suchman

Celeste graffiti

Aida certainly has its longueurs.

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Keeping the faith

Going into Washington National Opera’s final presentation of the season, Madama Butterfly, I feared that I might be geisha’d out.

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