BWW Review: UCO Opera's THE CONSUL Is a Haunting Tale of Caution
UCO's opera department offers a cautionary tale.
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BWW Review: Stemme and Davidsen Do a Fine Sister Act in ELEKTRA by Strauss at the Met
Richard Strauss’s ELEKTRA is simply overwhelming--particularly when you have Nina Stemme and, especially, Lise Davidsen, as the title character and her sister Chrysothemis, ably abetted by Greer Grimsley as their brother, Orest, and an incredible supporting cast top to bottom.
BWW Review: San Diego Opera's Creative and Effective ROMEO AND JULIET
Gounod’s overture introduces ROMEO AND JULIET with a prophetic mix of lyrical romance and tragedy.
BWW Review: Brilliant Voices in MADAMA BUTTERFLY at Winter Opera in St. Louis
Such astonishing voices! Winter Opera, in St.
BWW Review: EUGENE ONEGIN at the Metropolitan Opera
The 2013 production of Tchaikovsky's Pushkin-inspired opera EUGENE ONEGIN has triumphantly returned to the Met.
BWW Review: Technology Is in Control as We UPLOAD the Future at the Park Avenue Armory
I couldn’t help thinking of a new science fiction-comedy series on Amazon during the local premiere of UPLOAD, the opera by Michel van der Aa at the Park Avenue Armory on Tuesday.
BWW Review: Timeless Myths from MOUNTAINS & SEAS Mesmerize St. Ann's Audience
Another work salvaged from this year’s Covid-aborted Prototype Festival has shown up in New York--at Brooklyn’s St.
BWW Review: Dazzling RODELINDA Proves the Met's Not Too Big To Handle Handel
If Friday night’s performance of Handel’s RODELINDA sometimes seemed like it was never going to end--it was quickly approaching the witching hour by the time the curtain calls were over, having started at 7:30--it certainly wasn’t the fault of the cast but Handel himself and librettist Nicola
BWW Review: You Know How to WHISTLE – Put Sondheim's Score in the Right Hands, As MasterVoices Concert at Carnegie Hall Showed
The original title of the Sondheim-Laurents ANYONE CAN WHISTLE was THE NATIVES ARE RESTLESS, though the crowd at Carnegie Hall on Thursday for the MasterVoices concert performance of the trouble musical were hardly fidgety.
BWW Review: THE MAGIC FLUTE at Des Moines Metro Opera
I love seeing in the arts when a company takes a classic work and reimagines it for a modern audience.
BWW Review: DON JUAN at Wroclaw Opera
A romantic burlesque turns out to be an abstract path to nothingness through perverse vanity.
BWW Review: WRITTEN IN STONE at Kennedy Center's Eisenhower Theater
The Washington National Opera has gathered a company of first rate singers for a portmanteau of four, one-act operas called Written in Stone.
BWW Review: Lise Davidsen Soars Over Naxos in Strauss's ARIADNE at the Met
I flipped over Lise Davidsen when she made her Met debut in QUEEN OF SPADES—the voice, the acting, the overall subtlety--but I was still unprepared for the performance she gave as the Prima Donna who became Princess Ariadne of Crete in Strauss’s ARIADNE AUF NAXOS.
BWW Review: Now in the Original French, Met's New Production of Verdi's DON CARLOS Shows Off Impressive Cast
DON CARLOS--Verdi’s original French language version, for the first time at the Met, of the opera better known in these parts as the Italian DON CARLO--was as grim as its setting in the Spanish inquisition in the new David McVicar production introduced last night.
BWW Review: Opera Schmopera. Taylor Mac and His Collaborators Will Help You Get THE HANG of It
When this year’s PROTOTYPE Festival was put off for a year because of Covid concerns, some of the pieces went into mothballs.
BWW Review: San Diego Opera's MOZART'S COSI FAN TUTTE at San Diego Civic Center
I admire the plucky inventiveness of the San Diego Opera.
BWW Review: FIDELIO at the Met – Not THE MET – Proves Beethoven's Only Opera Is No Museum Piece
It’s no secret that many of the standard repertoire’s most famous operas had troubled premieres but Beethoven’s FIDELIO had more than its share.
BWW Review: ORPHEUS AND EURYDICE at Tagney Jones Hall
Bold new production of Christoph Willibald Gluck’s iconic rendering of the classic Greek tragedy
BWW Review: LA BOHÈME, London Coliseum
Another revival of a beautifully realised crowdpleaser that works perfectly in the difficult days of February 2022.
BWW Review: An INTIMATE Look at the New Gordon-Nottage Opera at Lincoln Center Theater
INTIMATE APPAREL appeared this week at LCT’s Mitzi Newhouse Theater, directed adroitly by Bartlett Sher, with a thoughtful libretto by Lynn Nottage based on her award-winning play and a ragtime-inflected score by composer Ricky Ian Gordon.
BWW Review: Costanzo and Bond Join Prokofiev and van Zweden at the Philharmonic
It took longer to read the notes for Joan Tower’s “Fanfare for the Uncommon Woman, No.
BWW Review: GARDEN OF FINZI-CONTINIS at City Opera-NYTF Is Too Much of a Good Thing
Ricky Ian Gordon and Michael Korie, in their new opera for New York City Opera and National Yiddish Theatre-Folksbiene, weren’t the only ones to be inspired by the famed 1962 novel THE GARDEN OF THE FINZI-CONTINIS (IL GIARDINO DEI FINZI CONTINI) by Italian Giorgio Bassani.
BWW Review: Audra McDonald and Dr. Phillips Center Make History with Duke Ellington's BLACK, BROWN & BEIGE
It's not every day that Audra McDonald stands twenty feet in front of you and says, 'Tonight, we are all a part of history.
BWW Review: LA BOHEME Returns to The MET
Puccini's 'La Boheme,' returned for its second run of the season this week and cast and conductor delivered the goods.
BWW Review: THE GONDOLIERS at Winter Opera St. Louis
Gina Galati's marvelous Winter Opera company has mounted a delightful production of Gilbert and Sullivan's The Gondoliers.
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Samson et Dalila Union Avenue Opera (8/14-8/22) |
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L’elisir d’amore Union Avenue Opera (7/24-8/01) |
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Fiddler on the Roof Union Avenue Opera (7/03-7/11) |