The latest reviews and critic recommendations from Opera.
In the fifth incarnation of POP's trademark production, a new batch of hand-crafted, vegan, organically-sourced hipsters take the stage for what is quickly becoming an annual Los Angeles holiday tradition.
Since it's highly unlikely that the Met will take on Carl Maria von Weber's DIE FREISCHUTZ (frequently translated as THE MARKSMAN) anytime soon--or even in the lifetime of any baby born this year--we should be grateful to Heartbeat Opera for bringing it to New York audiences through December 15, in
Two years on, Otello is revived in all its austere majesty, albeit a majesty that can be demanding to watch across a three hours running time.
I know it takes a leap of faith for the Met to schedule something outside the ABC operas--AIDA, BOHEME, CARMEN plus a TOSCA, TURANDOT and a few others--and go for something a little more off the beaten track.
November 22, 2019 Astonishing in their choice of repertoire, their innovative choreography, their elaborate and colorfully creative costuming and their commanding performance of the choreography.
Get a first look and check out reviews for the Met Opera's The Queen of Spades! Tchaikovsky's eerie thriller of imperial Russia has its first performances at the Met since 2011.
Of numerous operaphiles I have encountered, there is a fair amount of partisanship when it comes to COSI FAN TUTTE by Mozart.
On November 24, 2019, San Francisco Opera presented Giacomo Puccini's third opera, MANON LESCAUT with two spectacularly large-voiced singers, Liana Haroutounian and Brian Jagde.
David McVicar's compelling new production of Benjamin Britten's last opera is an extraordinary tour-de-force that takes you inside a troubled mind and leaves you as ill-at-ease as you might expect, but strangely uplifted too, the beauty present in even a dying world underlined and celebrated.
Have you ever wandered why two cheesecakes based on one recipe are slightly different? Even tough you use the same flour, sugar and cheese the taste is not the same.
When New Yorkers last saw a concert performance of Act II of Wagner's TRISTAN UND ISOLDE--in the spring of 2018 with the Boston Symphony under Nelsons--a major singer was trying on one of the title characters for size.
It has taken 35 years for Philip Glass's AKHNATEN to get to the Met, since its premiere at the Staatsoper in Stuttgart in 1984.
When I first saw Boston Lyric Opera's promotional images for Fellow Travelers, a new opera by Greg Pierce and Gregory Spears, in a production that premiered at Minnesota Opera, I was incredibly wary.
Austin Opera's latest effort, Verdi's, RIGOLETTO dazzles in every way.
According to the Carnegie Hall program, the Bavarian Radio Symphony Orchestra was founded just a year after the most modern pieces on last Friday's program were written.
From the moment the lights go down in the Southern Jubilee Auditorium, you as an audience are transported into 19th century Paris.
The magic of the WNO's THE MAGIC FLUTE is that it is captivating for all ages and a tempting proposition for first-timers and opera-buffs alike.
A big Harry Potterish serpent, a Salad Daysy enchanted glockenspiel, a Scooby-Dooish birdman, a pre-Ford Chitty Chitty Bang Bang and enough underground conspiracies to keep the most fervent follower of QAnon frothing at the mouth - what's not to like?
It's hard to imagine the logistics in putting together a complex program like the one that the audience at Carnegie Hall was treated to on Sunday evening for the 2019 RICHARD TUCKER GALA.
With apologies to Gluck, “Che faremmo senza Jamie Barton?”—'Where would we be without mezzo Jamie Barton?”--in the revival of Mark Morris's production of ORFEO ED EURIDICE at the Met, under Mark Wigglesworth's firmly rhythmic baton.
a?oeDouble, double, toil and troublea?? has made its way to His Majesty's Theatre, but instead of this famous line being spoken by the usual three witches, it (or an approximation of it) is sung in Italian by eighteen classically trained witches.
The San Diego Opera's AIDA served Verdi's marvelous score without the usual extravagant sets and throngs of spear-carrying tunic led Egyptian soldiers.
On the evening of October 20, 2019, Los Angeles Opera presented a recital by Javier Camarena and pianist Ángel Rodríguez at the Dorothy Chandler Pavilion.
It's easy to give yourself over to the music--and the musicians--that Lash has created (both music and libretto) from the very first notes of the devastatingly beautiful score.
On Monday October 14, 2019, Arizona Opera and its Valley Friends presented a concert of arias by the Marion Roose Pullin Studio Artists at the Mon Orchid Gallery, a small hall with excellent, if somewhat live, acoustics.
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Fiddler on the Roof Union Avenue Opera (7/03-7/11) |
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L’elisir d’amore Union Avenue Opera (7/24-8/01) |
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Samson et Dalila Union Avenue Opera (8/14-8/22) |
