Review: GROUNDED at Kennedy Center
The beautiful blue skies that Jess, an F-16 fighter pilot in the U.
Opera Theater Reviews
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Review: RIP VAN WINKLE, Hoxton Hall
London company Gothic Opera returns to Hoxton Hall for their fifth outing and their take on French composer Robert Planquette's Rip Van Winkle.
Review: LA TRAVIATA at Artscape Is a Visual and Audial Masterpiece
LA TRAVIATA needs little introduction.
Review: LA TRAVIATA, London Coliseum
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.
Review: Met Revival of BALLO IN MASCHERA Opens in Alden Production
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.
Review: CARMEN Opens Edmonton Opera's 60th Season
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.
Review: ALCINA at McCaw Hall
What did our critic think of ALCINA It’s worth going to see for the glorious music and courageous, proficient singing
Review: RIGOLETTO, Royal Opera House
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.
Review: IOLANTHE, London Coliseum
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.
Review: NABUCCO, Verdi's First Big Hit, Returns to the Met with a Terrifying Monastyrska
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.
Review: With a Different Perspective, UNHOLY WARS Shows What's Old is New Again at Opera Philadelphia
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
Review: PICTURE A DAY LIKE THIS, Royal Opera House
George Benjamin's slick new opera plays at the Royal Opera House after a critically acclaimed run at Festival d'Aix-en-Provence
Review: Met Audience Entranced by DiDonato and McKinny in Heggie-McNally DEAD MAN in House Debut
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.
Review: Orth-Moscovitch Stunning MADHOUSE Tells of Women Past the Verge of a Nervous Breakdown at Philadelphia Opera Fest O23
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.
Review: Jonas Kaufmann Returns to New York in 'Anxious and Heavy' DOPPELGANGER
Another year, another Met season without Jonas Kaufmann.
Review: L'ELISIR D'AMORE, Royal Opera House
Liparit Avetsiyan lends emotional weight to an opera that veers a little too close to pantomime on occasion
Review: PETER GRIMES, London Coliseum
Deftly balances psychological thrill with morality as murky as the North Sea
Review: LA FORZA DEL DESTINO, Royal Opera House
Sondra Radvanovsky, Brian Jagde and Etienne Dupuis lead a wonderful cast and orchestra in a near-overwhelming production that fully justifies its four hours running time
Review: THE MIKADO, Grimeborn, Arcola Theatre
It maintains the opera’s timeless charm, strong wit, and with a cast that never takes itself seriously, leads to an evening that has the audience roaring with laughter.
Review: Lise Davidsen's Recital at the Met will be a Hard Act for a DEAD MAN to Follow
The Metropolitan Opera somehow managed to upstage itself on Thursday, when it offered audiences a spectacular recital by Norwegian soprano Lisa Davidsen, with her excellent musical partner James Baillieu, on piano, 12 days before the company’s official opening night (the Jake Heggie-Terrence McNal
Review: Cape Town Opera's TOSCA is Lush and Transportive
What did our critic think of TOSCA at Cape Town Opera?
Review: DAS RHEINGOLD, Royal Opera House
Given his political radicalism and fervent romanticism, it is more than fair to wonder if Richard Wagner would be partial to Just Stop Oil.
Review: TURANDOT, Grimeborn Festival, Arcola Theatre
The thrill of operatic voices singing up close and personal in a radical re-interpretation of an opera ripe for bringing into the 21st century
Review: RAGTIME at Union Avenue Opera
When the musical Ragtime was produced for Broadway in 1998 it was a colossal, big-budget show.
Review: DAS RHEINGOLD at McCaw Hall
The outstanding cast and provocative production, merged with Wagner’s indisputably monumental music and drama, made this Rheingold a de rigueur happening
