Photos/Reviews: THE QUEEN OF SPADES at the Metropolitan Opera, New York
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.
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BWW Review: COSI FAN TUTTE Meets GREASE At The Juilliard School
Of numerous operaphiles I have encountered, there is a fair amount of partisanship when it comes to COSI FAN TUTTE by Mozart.
BWW Review: MANON LESCAUT at War Memorial Opera House
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.
BWW Review: DEATH IN VENICE, Royal Opera House
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.
BWW Review: TRAVIATA at Opera WROCLAW - Feel The Breath Of The Universe
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.
BWW Review: It's TRISTAN Interruptus Again, with Goerke and Gould in Act II of the Wagner Epic
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.
BWW Review: Bring on the Jugglers, Philip Glass's AKHNATEN Finally Arrives at the Met
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.
BWW Review: FELLOW TRAVELERS at Boston Lyric Opera
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.
BWW Review: Austin Opera Dazzles With RIGOLETTO
Austin Opera's latest effort, Verdi's, RIGOLETTO dazzles in every way.
Review: Bavarians under Jansons with Damrau as Soloist Turn Back the Clock at Carnegie Hall
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.
BWW Review: Calgary Opera Opens Their Season on a High Night with LA BOHÈME
From the moment the lights go down in the Southern Jubilee Auditorium, you as an audience are transported into 19th century Paris.
BWW Review: THE MAGIC FLUTE at Washington National Opera
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.
BWW Review: THE MAGIC FLUTE, Royal Opera House
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?
BWW Review: All-Star RICHARD TUCKER GALA is a One-of-a-Kind Treat at Carnegie Hall with Winner Oropesa
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.
BWW Review: Jamie Barton Shines in All-Singing, All-Dancing Gluck ORFEO from Mark Morris at the Met
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.
BWW Review: MACBETH at WA Opera
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.
BWW Review: The San Diego Opera Brings a Thrilling AIDA
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.
BWW Review: JAVIER CAMARENA RECITAL at Dorothy Chandler Pavilion
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.
BWW Review: Giving in to Hannah Lash's DESIRE at Columbia's Miller Theatre
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.
BWW Review: ARIZONA OPERA STUDIO CONCERT at Mon Orchid Gallery
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.
BWW Review: Against the Grain Theatre Champions Accessibility in Their Cozy, Emotional LA BOHÈME
One of the most unique opera experiences in Toronto this year is that of a classic story brought to life in a dive bar.
BWW Review: Elizabeth Caballero's Captivating Performance Highlights Nashville Opera's MADAME BUTTERFLY
Elizabeth Caballero's captivating performance as the tragic romantic heroine Cio Cio San, the titular lead of Puccini's classic opera Madame Butterfly, is so breathtakingly, so exquisitely heartbreaking that she alone is enough to make the 2019-20 season opening production from Nashville Opera a tri
BWW Review: Double, Double, Netrebko's Got No Trouble with MACBETH's Lady, in a Take-Charge Performance
Five years ago, Anna Netrebko unveiled her take on Verdi's Lady Macbeth at the Met and wowed audiences from here to eternity.
BWW Review: TURANDOT At The Metropolitan Opera
Birgit Nilsson, one of the greatest Turandots of our time, was fond of saying that Wagner made her famous but TURANDOT made her rich.
BWW: Apples, ORANGES--Opera Philadelphia's O19 Shows Us What the Difference is
If you can imagine Rossini's IL BARBIERE DI SIVIGLIA with all its comedy but without any of its great arias, you can begin to imagine why Sergei Prokofiev's LOVE FOR THREE ORANGES isn't only anyone's top-ten list of favorite operas.