OPERA THEATER REVIEWS

Of all the theatre directors that the Met has marshalled into its forces, Simon McBurney--who brought his version of Mozart’s DIE ZAUBERFLOTE (THE MAGIC FLUTE) to the Met on Friday in his house debut--may be the most successful in melding music and theatre, storytelling and visual elements....

IL TABARRO has a special relationship to New York, since it’s the only Puccini to premiere here at the Metropolitan, in 1918. While it’s only the first third of the trio of short operas that go by the title IL TRITTICO, no one attending the other night’s performance by On Site Opera in partner...

The glorious music of Puccini remains the principal reason to see the Washington National Opera’s (WNO)current production of the beloved classic opera La bohème. This oft-referenced opera that has influenced everything from the famous film Moonstruck to the hit Broadway musical Rent, must be a fa...

While I’ve always been bothered by the cruelties and misogyny of the main character, Mozart’s DON GIOVANNI has (musically) been my favorite of the composer’s operas, though either casting or design has been a regular issue in bringing off the work at its best. Happily, the Met’s new producti...

In an opera filled with gorgeous music, it’s hard to beat the end of LA BOHEME’s Act One, with the trifecta of arias about young love. If only tragedy and sadness weren’t going to catch up with the central pair, Mimi and Rodolfo, and their friends, in the succeeding three “tales from the Boh...

Maybe the Met should stop thinking about THE MERRY WIDOW and DIE FLEDERMAUS when it takes a turn at operetta—let alone the bevy of comic operas by Rossini and Donizetti that are given more than their due on a regular basis—and let Gilbert & Sullivan (G&S) have a turn at bat....

There are no supernatural women arriving on horseback to escort slain warriors to the afterlife--just a trio of mermaids, a couple of giants and a loveless dwarf, along with a bunch of gods, demi-gods and grotesque humans in Richard Wagner’s DAS RHEINGOLD, the first part of the composer’s Ring c...

While there’s always a great deal of talk about where the next generation of operagoers is coming from, there’s much less hand-wringing about the sources of the new generation of singers. After hearing the Eric and Dominique Laffont Competition’s Grand Finals Concert at the Met on Sunday after...

A confident production of a conceptually flawed opera....

Nicolas Reveles was diagnosed with late-stage pancreatic cancer shortly after completing Ghosts, and it is tragic that he died just weeks before its world premiere in a San Diego Opera production. A sincerely religious man, his spirit lives on in the minds of the many grieving friends and admirers ...

Emphasising monochromatic melancholy with singers who do their best despite swimming in an ocean of drab uniforms....

Here it is, opera's answer to A Little Life: Kaija Saariaho's Innocence follows the aftermath of a school shooting and the emotional destruction felt by those connect to the event. An elegant but devastating meditation on the nature of violence and collective guilt....

In search of new audiences, the Met has followed Terence Blanchard’s FIRE SHUT UP IN MY BONES with the jazz musician/composer’s first opera, CHAMPION, the story of closeted boxer Emile Griffith’s rise and fall from grace. Honestly, never have I heard people whose usual venues are Madison Squar...

If we needed any further proof about how opera continues to evolve--as in “what’s an operatic experience?”--a concert at New York’s United Nations Headquarters featuring a live-and-in-person version of Paola Prestini‘s and Magos Herrera’s CON ALMA album celebrated International Women’s...

It took Richard Strauss only about 100 minutes apiece (with no breaks) to tell the lurid tale of SALOME and the tragedy of ELEKTRA. So why on earth did he and librettist Hugo von Hofmannsthal need almost five hours (including two intermissions) to tell the personal stories of an “aging” (she was...

What did our critic think of RENE FLEMING GREATEST MOMENTS AT THE MET at A?...

WhaThe San Diego Opera has outdone itself with its most recent production of Puccini’s Tosca. The three major roles are sung by appealing voices with exceptional power; the company’s chorus and the city’s children’s choir combined for thrilling moments, especially in the riveting Act I final...

It’s hard to compete with yourself — especially the ‘you’ that was at the height of your powers. I think that’s part of the problem with the place that Richard Strauss’s DAPHNE holds in the composer’s canon. Often referred to as a second- (or even third-) tier work, it has much to offe...

Combine a supreme farceur with a stentorian voice that thrills and you get baritone Michael Volle’s portrayal of the title role in Verdi’s FALSTAFF, which breezed into town late last week for a limited run at the Met. While we’ve had dramatic singers in the role before, they were mostly from I...

Puccini is one of Michelle Bradley’s favorite composers, and she’s in San Diego to sing his Tosca for the San Diego Opera company. We were originally scheduled to talk in person, but a rehearsal change meant Zoom was going to work better for an hour discussion. “I'm happy to be back, and I kn...

Come for Nessun Dorma; stay for love's triumph over death...

What did our critic think of BLUE at Eisenhower Theater?...

Soprano Angel Blue’s Violetta didn’t seem as tragic as we’re used to seeing in Verdi’s masterwork and maybe that's right. She’s lived life on her own terms and if she’s dying of tuberculosis, well, c’est la vie. (After all, the source of the piece is French: the Alexandre Dumas fils �...

What did our critic think of THE SONG POET at Minnesota Opera? The first Hmong story adapted for the operatic stage, St. Paul writer Kao Kalia Yang's memoir The Song Poet comes to life in this world premiere. It tells the story of Yang's family and her song poet father as war drives them from the mo...

What did our critic think of NJ SYMPHONY MAHLER 3RD at NJPAC? NJ Symphony musical director, Xian Zhang has stated often that the Mahler 3rd is her favorite work of all time. This was evident from the instant she bounded up onto the platform until the time she stepped down some 99 minutes later. Duri...