At Wolf Trap Opera, a season-closing Tosca is weighed down by an incoherent setting during Italy’s Anni di piombo.
Wolf Trap Opera concluded its 2025 summer season last month with a production of Carmen that was vocally strong, though not entirely dramatically satisfying, amid challenging weather.
Wolf Trap Opera’s stirring production of Dialogues des Carmélites was a welcome respite from a brutally hot and humid DC summer.
Wolf Trap Opera kicked off its summer season with an inventive production of Wolfgang Amadeus Mozart’s Le Nozze di Figaro inspired by Pablo Picasso that showcased up-and-coming singers.
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.
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.
Concerts at Wolf Trap, mixed bags in more ways than one, provided fleeting glimpses of the old normal as moments of frisson mingled with more familiar monotony.
Pauline Viardot‘s Cendrillon hews closer to the Perrault original than either Rossini or Massenet’s more familiar retellings and is dainty in conception as a salon opera for her students.
March 2, 2020 – June 18, 2021: Those 15 months were the longest I’ve gone without attending a live opera performance since high school.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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