The latest reviews and critic recommendations from Opera.
Just as the Met’s debut of Mexican composer Daniel Catan’s FLORENCIA EN EL AMAZONAS (FLORENCE IN THE AMAZON) began the other day, a member of the audience yelled out “Viva la ópera en español!” (“Long live opera in Spanish!”).
The wonderful Winter Opera has opened a quite splendid production of what has been called “the opera of all operas”—Mozart’s amazing Don Giovanni.
It’s amazing how much emotion John Musto and Mark Campbell have been able to cram in the mere 75 minutes of LATER THE SAME EVENING, a one act opera, which has been on view this past week at Juilliard Opera at the Peter Jay Sharp Theatre, on West 65 Street, down the block from Lincoln Center’s Al
300 years have passed since Jephtha, Handel’s Greek tragedy-infused oratorio, was heard at Covent Garden.
MasterVoices, under Ted Sperling, found THE FROGS irresistible—and the result was a hit, or, as Shakespeare wrote in “Hamlet”: “A hit, a very palpable hit.
The oft-told tale of William Shakespeare’s Romeo and Juliet which has been beloved throughout the ages and been interpreted and showcased in so many films, stage productions and even a ballet ---has been mounted by the Washington National Opera in an odd sort of manner.
It’s taken a long time for X: THE LIFE AND TIMES OF MALCOLM X—the rediscovered and revised ‘80s work by Anthony Davis, Thulani Davis and Christopher Davis, in Robert O’Hara’s production and conducted by Kazem Abdullah--to cross the plaza from what was the old City Opera at New York State T
Celebrated performance artist Marina Abramović is very much in town: as well as a huge exhibition of her works at the Royal Academy, this “opera project” in London’s largest West End theatre sees her explore the life, works and final moments of the diva’s diva Maria Cal
An historic recording of golden age tenor Richard Tucker singing “Sound an Alarm” from Handel’s JUDAS MACCABEUS” set the tone for the Richard Tucker Music Foundation’s Gala concert at Carnegie Hall.
What did our critic think of GRAMMY® GREATS UNITE – LATONIA MOORE AND J’NAI BRIDGES IN CONCERT at Balboa Theatre?
The beautiful blue skies that Jess, an F-16 fighter pilot in the U.
London company Gothic Opera returns to Hoxton Hall for their fifth outing and their take on French composer Robert Planquette's Rip Van Winkle.
LA TRAVIATA needs little introduction.
Much shorter than Richard Eyre’s three-hour plus version for the ROH, Peter Konwitschny’s La Traviata perhaps should be renamed La Trav or L’ Abbreviata.
One of the troubles of being a major institution like the Met is that when they produce a new production of a major opera--and Verdi’s UN BALLO IN MASCHERA, which opened in revival the other night, certainly falls into that category--it’s an expensive undertaking.
One of the world’s most beloved operas returns to Edmonton’s Northern Alberta Jubilee Auditorium! Carmen takes the spotlight on October 21 and 24.
What did our critic think of ALCINA It’s worth going to see for the glorious music and courageous, proficient singing
Mears’s production demonstrates a keen feel for drama and a genuinely brilliant reading of Verdi’s opera; when juxtaposed with a musical interpretation as potent as this, it’s a production not likely to be forgotten.
If a revival is akin to colouring in someone else’s artwork, Cal McCrystal’s Iolanthe for the ENO does so with every shade under the sun.
The Met’s production of NABUCCO from Elijah Moshinsky may date back to 2001 but its style hearkens back even further--a fancy, old-fashioned unit set that uses the house’s big turntable--and it’s a whale of a show, design-wise, thanks to John Napier’s scenic design.
According to creator and star tenor Karim Sulayman, UNHOLY WARS, a 70-minute opera pastiche that made its debut on Saturday at Philadelphia Opera’s O23 Festival, “stitches together a collection of baroque music centered around the Middle East and the Crusades, examining the separation of the hum
George Benjamin's slick new opera plays at the Royal Opera House after a critically acclaimed run at Festival d'Aix-en-Provence
It’s rather surprising, really, for the audience to embrace a contemporary piece like DEAD MAN WALKING, no matter how easily it falls upon the ears, considering the subject matter.
When composer Rene Orth came across the story of investigative reporter Nellie Bly’s expose of the abuse of women at an asylum in New York at the end of the 19th century, she immediately knew that “this story needed to be told as an opera.
Another year, another Met season without Jonas Kaufmann.
